April 2012 South African Art Times Magazine

Photo: John Hodgkiss
The South African Art Times: SAs leading visual arts publication | April 2012 | Free | Read daily news on www.arttimes.co.za
Photo: Jenny Altschuler
ART TIMES
Barbara Tyrrell
The Good Read: SAs Art Materials Scene
Adieu, John. Sweet heart. RIP John Hodgkiss
The Truly Amazing Life & Art of

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JOHANNESBURG AUCTION
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Viewing dates: 20 - 22 April 2012
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Viewing Dates: 25 - 27 May 2012
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JUST A MATTER OF TIME
JACO VAN SCHALKWYK
18 APRIL - 17 MAY 2012
WWW.BARNARDGALLERY.COM
55 MAI N STREET, NEWLANDS, CAPE TOWN, SOUTH AFRI CA
EMAIL GALLERY@BARNARDGALLERY.COM // TEL 021 671 1553
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06 SA ART TIMES. April 2012
ART TIMES | EDITORIAL

April 2012
Daily news at www.arttimes.co.za

Global Art Information Group
Editor:
Gabriel Clark-Brown editor@arttimes.co.za
Advertising:
Eugene Fisher sales@arttimes.co.za
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Tracey Muscat subs@arttimes.co.za
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Letters to the Editor: editor@arttimes.co.za
Designers:
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Contributors:
Carl Collison
Michael Coulson
Nushin Elahi
Lloyd Pollak
Deadline for news, articles and advertising is the
18th of each month. The Art Times is published in
the last week of each month.
Newspaper rights: The newspaper reserves the
right to reject any material that could be found
offensive by its readers. Opinions and views ex-
pressed in the SA Art Times do not necessarily
represent the offcial viewpoint of the editor, staff
or publisher, while inclusion of advertising features
does not imply the newspapers endorsement of
any business, product or service. Copyright of the
enclosed material in this publication is reserved.
First of all thank you for the Art Times it is such
a good read and it certainly has flled a gap in
our art world. I look forward to all your issues.
Congratulations!

The article Lloyd Pollock wrote is so spot on and
Jeremy Lawrences piece say exactly that which
Id like to have. They are both excellent writers
and as writing is not my forte I will keep mine
brief. The Gallery is dead. It should refect the
people and the richness of our culture. Old and
new.
Most Galleries have facilities to sit and take in a
refreshment to refect and discuss the exhibitions.
I believe the Friends of National Gallery raised
the money for the equipping of the last restaurant.
Another facet is being able to buy postcards or
souvenirs to send to friends or keep so the fame
of the Gallery is extended. Its called simple mar-
keting. The Shop is now also a thing of the past
The National Gallery has long worried me and I
have approached Mr Naidoo re a coffee station or
refreshment bar where one could have a coffee
tea, juice and refect on the exhibition one has
seen. I very often visit and wish to meet a friend
there but in order to complete the outing one has
to move elsewhere to relax and refect . This has
resulted in exploring the Company gardens more
fully and so sometimes there is no time to take on
the gallery as well! So the gallery is not the draw
card it could be.
Another concern is what is the Gallerys plans
to take advantage of our wonderful accolade as
World design Capital?
I know the private sector is engaging on this
important opportunity to embrace the challenge
and refect the incredible talent Cape Town has
to offer.
I have heard that budgets are low and Arts dont
get much.. but it is ironical how much is spent on
sport in this country when Stadiums beautiful
though they are now pose fnancial diffculties and
are actually white elephants!
Art enriches people, People enrich a nation ..and
we are a truly rich and very diverse nation our
Gallery should refect this fact.
I think of the great pity we are losing something
so valuable.
Yours Sincerely,
Patricia Fraser
Newlands
LETTER TO
THE EDITOR
In this news publishing business if an edition looks like
the one you planned for a month ago, you know that
you have totally lost touch with your audience.
At the beginning of this month we had most of our
contents sorted, however the discovery of Barbara
Tyrrells life story, and of course kind John Hodgkisss
passing, changed everything in the last week.
Last December when we were literally on the printers
runway, engines booming, the cover artist chose to
pull out, as they felt that their work should represent
them, not their face (fair enough). In such an
environment Murphys law goes kangaroo our
unimagined plan B had to kick in, just moments before
the printers - who were on tight December deadline
- thrust back on the joystick.

As the nature of news and newscasting is changing
we are happy with our 48 pages for now. This allows
us to reach a 30% growth from 6 000 to now over 8-9
000 readers per month (we reach well over 50 000 per
month with our AT News Network) making The AT a
good means of disseminating art news and
information in SA. Any additional savings on pages
goes into outreach projects such as schools and
growing our twice daily online news on
www.arttimes.co.za This past months online reader-
ship theme seems to refect that an art illuminati exist,
as 2-3 people wrote in accusing higher forces of
pushing bad art, or certain folk that manipulate the
market. This would be interesting to cover for an
edition - who controls what and whom ? together
with other art related paranoia. Quite frankly, I dont
believe for a second that anyone is out to get anyone,
there are just too many amazing artists with diverse
interests to singularly control any market.

What also seems to be a recurring theme lately
is some artists who are pushing their merits and
achievements in the open media -a bit too far to
believe. Initially these artists international claims and
showmanship are frstly entertaining and then ridicu-
lous, and after a while embarrassing. Firstly these type
of artists cant restrain from calling themselves (or via
their PR agency) geniuses, and then take it further
with Big Names Dropping, the more popular names
dropped the better. These names of big artists and big
money are dropped from here, there and especially...
everywhere else - where facts realistically cant be
weighed up. They do this with the hope that some
nave programme manager or buyer, not checking
their facts, will believe them and assist in opening
wallets or newspaper or TV channels to more nave
viewers. Art fame is usually hardfought for and slowly
built on many peoples respect and one on one inter-
actions . This rather than a singular relationship of 2
people -the artist that mimics other popular artists and
their PR companys rep who produces PR refecting
their clients imagination of who they want to be. Dont
think that I am knocking PR, it plays a vital function in
todays artworld, but PR unchecked is dangerous and
irresponsible. Next month we are off to thrilling Johan-
nesburg. The big WAM (Wits Art Museum) is about to
open, as well as the Artist Proof Studio (APS) is going
to take over JAG (Johannesburg Art Gallery). We are
thrilled at this! Best, Gabriel Clark-Brown
EDITORIAL
Happy 100th Barbara, may you have a long and
ever more inspired life. From all of us at The AT
SA ART TIMES. April 2012 07
NEWS | ART TIMES
First Published in Artthrob:
By M Blackman.
Photo: SOWETAN. Reuters/Siphiwe Sibeko
Papers were served on the Department of Arts
and Culture (DAC) after their failure to respond to
a request for information under the Promotion of
Access to Information Act (PAIA).
The request, sent to the DAC on the 30 September
2011, asked for any minutes or records relating
to the selection of Monna Mokoena as commis-
sioner of South Africas participation at the Venice
Biennale. It also requested documents refecting
whether any public money was used to fund, what
the department has referred to as, Mr. Mokoenas
private initiative. The request also sought docu-
ments on the departments rumoured long-lease of
a building in Venice.
Having received no response from the DAC within
the allotted 30 days, lawyers, on the behalf of the
author, submitted an internal appeal to which again
no response was received despite the departments
assurances to the contrary. A court application has
now been launched in the hope of receiving reply
from the Minister Arts and Culture, Paul Mashatile.
This is not the frst time that Mr. Mashatile has
failed to respond to questions concerning the Ven-
ice Biennale. Last year the minister failed to answer
questions put to him in parliament by the DAs
Shadow Minister of Arts and Culture Dr. Lotriet. The
DAC now has 15 court days to let the author know
whether they intend to oppose the application.
First Published in West Cape News
Kate Gerber. The City of Cape Town is working
on formulating a new directorate that will develop
a public arts policy, but artists say the move is
belated, and opaque.
The City announced its intention to develop the
Tourism, Event, Arts and Culture, Marketing
Strategy (Teams) that will include a policy on public
arts which up until now has been completely lack-
ing at the end of the week-long Infecting the City
arts programme hosted by the Gordon
Institute for Performing and Creative Arts on Friday.
When asked about the development of a public arts
policy yesterday, a consultant assigned to the Citys
Tourism, Events and Marketing offce, Heidi van
der Watt, said three senior members still needed to
be added to the committee before any progress on
policy could be made.
Asked about whether there would be a budget
for the commissioning of works from emerging or
established artists, van der Watt said there was
nothing which compelled the city to budget for
public works of art.
We are waiting for the dedication of that respon-
sibility to us. Once we are mandated, we can start
budgeting, said van de Watt. As the policy is in
stasis right now, it would be inappropriate for me to
say what types of art the policy will and wont fund,
however. She said the policy in its current form
was available to the public, but the City recognized
the importance of input by artists.
Artists have been encouraged to register on our
database for regular updates on what progress is
being made on the policy.
But chairperson of the Visual Arts Network of South
Africa (VANSA), Jonathan Garnham, said there
was no transparency regarding the development of
the Citys public arts policy.
There is no transparency, he said, people do not
know whats going on. No-one knows who wrote
the policy and no-one I know, knows about the
database. We havent been consulted about any
of this. It makes me angry that weve been told we
elected the members of the Portfolio committee
who have brought the policy this far. If we elected
them, why arent they doing their jobs?
Garnham said there was no political bill that
engages with the visual arts, with the result being
that the City received unsolicited proposals and did
not know what to do with them.
He said at present, it seemed an artist could
display his or her art in a public space so long as
it was privately funded, but not all artists had the
luxury of funding their work.
Yet Johannesburg, he said, spent over R20m on
public art through the Johannesburg Development
Agency, making it a bright and vibrant city as a
result. It is terrible that a city of our stature doesnt
have qualities like that.
He said art helped to make a city a cultural hub.
What I want to ask Ms van de Watt is, when will
the policy be fnished? What is the next step within
your department? said Garnham.
Asked when the public arts policy would be com-
pleted, van der Watt said she had no idea.
Public arts policy being developed -
but artists dissatisfed
Court papers served on the
Department of Arts and Culture
ART TIMES | OBITUARY / JOHN HODGKISS
Written by Tim Hopwood
Does life seem nasty, brutish and short?
Come on up to the house.
The seas are stormy and you cant fnd no port.
The world is not my home Im just a passin through
You got to come on up to the house.
Tom Waits: Come on up to the house.
The art world has been deeply shocked and sad-
dened by the sudden death at the age of 45 of photog-
rapher John Hodgkiss in his Johannesburg home last
week. Hodgkiss was found dead on his couch in his
Melville home by a friend.
Hodgkiss was an intense, complex character, by turns
both cynical and deeply romantic, fragile and tough,
and always witty and sharp. His love for his friends
was deep, heartfelt and genuine. But more of the
personal tributes later.
Hodgkiss was known for the work he did in the art
industry in Johannesburg. For the last ten years or
so he documented the work of artists of the calibre of
William Kentridge and Steven Cohen, and while he
privately sneered in disdain at some of the work he
was paid to photograph, he was also very proud of the
work he did for others, particularly Cohen. Cohen was
the frst artist with whom Hodgkiss began collaborat-
ing, and they formed a deep, lasting friendship.
But it is not for this work, important as it was, that I like
to remember Hodgkiss, and this is not the work that
John should be remembered for. I really hate expres-
sions like He was a great artist in his own right. Or
even worse: He was an artist in his own right. Its of-
ten disingenuous and patronizing. I have no doubt that
it will be trotted out in reference to John Hodgkiss, but
what does it actually mean? The truth in my opinion
is that Johns own work was far superior to the work
he documented for some of the artists in the upper
echelons of the art industry. And the truth is, Hodgkiss
knew this, and it created in him a deep sense of futility
and frustration. He found it hard to remain silent about
some of the junk he had to photograph, and us as
his friends often bore the brunt of that rage. Perhaps,
recently, it was a rage also at a perceived sense of his
own wasted talent.
Far too many artists occupy positions of status and
power merely because they know the buzz words,
or have simply become investment capital: relevant
both here and abroad but essentially harmless to the
machinations of power that fnance their industry. They
can rattle off some cobbled-together bits of Baudrillard
and Derrida, but few have ever actually sat down and
read a volume of Derrida. Hodgkiss claimed that he
had never in his life read a book cover to cover, with
the exception of Nick Caves When The Ass Met the
Angel. And yet there are many nights I recall listening
to him argue and debate with other students, one of
whom would go on to become a respected art theorist,
and John was always, always, a step or more ahead
of them. I began to form the opinion that Hodgkiss
was possessed of some kind of weird, innate, almost
alien intelligence. If there was ever a case to be made
for the notion of past lives, to me, John was that case.
His own work was whimsical, profound and often in-
credibly witty. And way different to anything the rest of
us did. It took no small degree of strength of character
to resist the aesthetic dictates of a man as larger-than-
life as Obie Oberholzer, but Hodgkiss did, right from
the start of his career at Rhodes. The boundaries of
art were blurred with Hodgkiss. He would make little
pieces of jewelry from broken toy soldiers and bits of
old clocks. These he would then photograph and the
photo would become the artwork. Or else he would
take photographic prints, stick them on the wall and
photograph them with models casting a shadow on
them. The human presence was more often than not
enigmatic and ethereal in Hodgkisss work. Figures
are seldom glimpsed in their entirety, and are more
often than not visual synecdoches. Hodgkiss was
fascinated with the archetypes of the human story.
At Rhodes, John was something of a trailblazer. He
engineered things, he made things happen. The frst
performance art piece any of us ever saw at Rhodes
was at one of Johns garage exhibitions, with Andrew
Buckland all wrapped in bandages, groping in person-
al darkness to locate the sound of Ben Coutouvidis
saxophone, in a room full of Johns images.
Despite the fact that he was without doubt the most
avant-garde cat at Rhodes (my trendy-points went
through the roof when I became close friends with
him) John always struck me as someone who had,
much like his favourite musician, Tom Waits, the air
of someone who was born slightly after his time,
slightly out of step with his generation, but with a kind
of knowingness that everything that we thought was
important, progressive and vital (hipness never really
came into it in the mad eighties in South Africa) was
part of a story that was simply cyclical, and would
merely end in disappointment. John was the last
person the student left would have been able to enlist
in The Struggle, not because he didnt sympathise.
He was just otherwise. His favourite movie was a
little known but genius 40s comedy with Danny Kaye,
called The Secret Life of Walter Mitty, and his favourite
artist was always Marcel Duchamp, long before he
became the darling of so many in the art world in
South Africa.
Hodgkiss had an enormous amount of images he was
working with the last time I saw him in Johannesburg,
some taken from his travels with the writer Adam
Levin, and others from his shit-stirring escapades
with Steven Cohen (I dont say that fippantly: I think
art should stir shit, and Cohen and Hodgkiss made a
fantastic shit-stirring team). He was at that time in the
process of creating a large body of work where he
would juxtapose one image with another in diptychs,
in often quirky and incongruous pairings. They made
one realize that this man saw the world very differently
to anyone else. Hell, just knowing him made many
of us see the world differently, and for this reason
he had been hugely infuential with a section of the
photographic students who did not really gel with
Oberholzers modus operandi.
I dont know what ever happened to that project. I
guess life just got in the way. I guess other peoples
art was more important. I guess at the end of the day
he had to pay the bills. (John hated that phrase: At the
end of the day, and would just about throttle anyone
who said it.)
Hodgkiss was as far-removed from the cookie-cut
characters that come trundling out of university art
faculties than you could wish to get. I would trade
a year of parroted postmodern platitudes from the
elegant operators on the lower slopes of the avant-
garde for just fve more minutes in the company of
Johnny Hodgkiss.
Instead of writing any more about John I would like to
quote some of the beautiful things some of his friends
have said of him on his Facebook page, for I fnd I
simply cannot write this obituary alone:
Dear John. What are we going to do without you?
Who is going to remind us that there is beauty, grace
and humour in the sore and diffcult parts of being
human? You are loved and missed.
Llewelyn Roderick
My beloved John, I miss you so already. You have
left a massive empty space in my heart. Who knew it
would hurt so much. I love you. Sleep tight.
Sue Mills.
What an individual you are John Hodgkiss. You will
be missed by many. Thanks for the great work you did
for me, all cool attitude and scarves.
Mandy Deacon.
You burned so bright, illuminating all those dark
corners. Cant believe youre gone. We will miss you
so. Jenny Carlin
I always admired you John. You always helped me
see the beauty in the shadows. I will miss you.
Brett Tyson
A long night of mourning. RIP John Hodgkiss. Such
sadness I dont even want to sleep. Alex Dodd
From his best friend, Peter Davidson: Forever
young. My best friend, Im going to miss you.
From his sister, Diana Hartley: My little brother, such
a kind and gentle person and far too young to go.
He is immortal in the memories of all the people who
knew and loved him.
And from his partner for close on 20 years, Vanessa
Hilton-Barber: So empty without John, the canvas of
the world just duller.
But the greatest Hodgkiss original was John himself.
He was a piece of art. Art moves you. Art inspires you.
It makes the world a better place. John did all of that
and more. He touched all of our lives. He poured out
love. He was the greatest living artwork. A true origi-
nal. Toby Shapshack speaking at Johns funeral.
Adieu, John. Sweet heart. Tracy Rose.
John Hodgkiss
1966 - 2012
JOHN HODGKISS / OBITUARY | ART TIMES
(Above) John Hodgkiss as the Dead Murat, - experimental work done as a student with Tim Hopwood in the 80s.
(Below) Shadows, Student work at Rhodes Photography department, (B-R) Linda Givon, photographed for The Art Times
ART TIMES | THE BIG READ / THE SA ART MATERIAL MARKET
Save our little art shops, please, Emma Stols
implores with a laugh that belies the seriousness of
her plea. Stols, the owner of well-known art
supply store Herbert Evans, which has been
running for 123 years, is one of many retailers
specialising in art materials that are starting the
pinch as a result of the glut of bigger name brands
pushing their way into this market.
Though the stores standing is arguably not as
precarious as those who are either facing - or have
faced closure - Stols, like many independent stores
of this nature, are fnding it increasingly diffcult
to provide their customers with quality products
at competitive prices. And though South Africa is
certainly not unique to the market forces which
often lay many smaller, independent businesses to
waste in its wake, what exacerbates the situation
locally is the notably small size of the market. Kevin
OSullivan owner of Dala Art, for example laments
the fact that the yield from their market in the
town of George outstrips that of those of Namibia,
Botswana, Zimabwe and Mozambique collectively.
Still, in the 15 years it has been running, the
company has, under OSullivans business hand
has gone on to become the industrys biggest - and
unknown SA- success story. Employing over 100
staff, it has also built up a strong export network
- more often than not exporting to supermarkets
where it competes directly with the worlds biggest
brands. For OSullivan, eschewing the more
traditional three-tiered model of importer-distributor-
retailer (by manufacturing and packaging what the
market needs and supplying it directly to retailers)
has clearly proven to be highly successful.
Though effective, the success of this model does
not (and could not realistically be expected to)
stem the tide of what is becoming an ever-greater
reality for the few local manufacturers: the infux
and increased popularity of bigger international
brand names. For Sandi Cooper, a former retailer,
and now working with a local wholesale distributor,
the motivation is to offer retailers- and by extention
artists - access to a broad range of quality
international brands.
This would surely do little to allay the anxieties of
local manufacturers. Gus Kennedy, of The Italian
Art Shop, another distributor of big-name brands
admits that yes, there is a dominance of mostly
British paint manufacturers. I suppose, he quips,
its a result of being a colony in the past! Artists
are, however, realising a whole new and exciting
world of top brands that offer an amazing choice
and different possibilities. These brands are well-
known around Europe and the rest of the world
and it is just a question of time before they are as
well-known as the traditional British brands.
Multi award-winning artist Johannes Phokela,
whose large-scale oil paintings have garnered him
much acclaim both locally and internationally, cer-
tainly is one of these artists. To be honest, admits
the, I am not aware of any local paint
manufactures, though I have only been living back
here for about fve years. I only really use two
brands and both are British.
Tarique Taleip, a sales representative for
Ashley and Radmore, the company which imports
brands such as Windsor and Newton and Reeves
paints, cuts to the chase: Theres a big demand for
Windsor and Newton because it is the worlds best
artist materials so many artists prefer using it. The
approximately 1 500 retailers across South Africa,
Namibia, Zimbabwe and Botswana under its wing
point towards this clearly not just being salesman-
speak.
Annare Prinsloo, co-owner of another local
manufacturer, Zellen Art Products, admits that the
Windsor and Newton brands range of oils paints
are good. She is, however, not as complimentary
of other competitors. Says Prinsloo: There is one
major brand who recently introduced a range of oil
paints locally which we tested and it really is not
good. What people dont realise is that it really is
not easy to produce a really good oil paint. Each
one has its own ingredients. It really takes a lot of
skill. Besides, it really is not easy introducing new
brands because artists are fussy.
Quality and artistic fastidiousness aside, there
is, as Basil Lentner, Managing Director of local
manufacturer, Heritage Craft Products, points
out, the more practical diffculties inherent in trying
to penetrate a new market, particularly one as
small as South Africas. Its diffcult to import [new
brands] because minimum order quantities have to
be so huge.
Though the jury might be out on whether this
really is a complete non-issue for these local
manufacturers, what cannot be denied is that the
ever-growing presence of big-name brands has,
unwittingly, forced them to up the ante. Says
Prinsloo: The quality of locally manufactured
paints has improved so much over the years.
We are currently working on expanding both our
product range and our reach and have sent out
samples to some countries abroad.
This months big read
How the global vs. local art material
brands market affect artists
Carl Collison goes walkabout around the manufacturers, distributors and retailers of South African art materials
ArtShopper.co.za
Online Art supplies
Leaders in Masters
as well as
Contemporary Art
www.absolutart.co.za
Shop 43, Willowbridge
Lifestyle Centre
(Below the Barnyard)
39 Carl Cronje Drive
Tygervalley, Bellville
Gallery
021 914 2846
Gerrit Dyman Jr
072 699 5918
Email: info@absolutart.co.za
Clement Serneels
Girl with hat
Erich Mayer
Landscape with Baobab trees
THE SA ART MATERIAL MARKET / THE BIG READ | ART TIMES
Both Lentner and Stols echo this sentiment, with
Stols saying: Local brand loyalty is defnitely
growing. We try and buy local as much as
possible because those guys work hard and their
quality is improving. Theyre also very dedicated
which makes the product you buy not merely
something that comes off the giant conveyer belt
that is China.Noble as this may be, there is the
reality that, without buy-in from consumers, very
little growth is likely to be achieved. How then is
the message of this apparent improved quality
communicated? In other words, what are these
brands doing to advertise their products? Herit-
age, according to Lentner, advertises, in-store
at the 800 stores they supply in every little town
across the country. Prinsloo admits that, despite a
few advertisements placed in art magazines, most
of the advertising done is through good
old-fashioned word-of-mouth.
The old adage of the best advertising being
word-of-mouth certainly is given added valida-
tion when one considers the often steep costs of
advertising campaigns which are doubly so for
smaller companies. Considering this, as well as
the considerable overheads incurred as a result
of running a traditional brick-and-mortar business,
does the option of focussing on online sales not
seem an altogether more attractive and lucrative
option? Though Taliep and Kennedy both feel that
the move towards online purchasing is inevitable,
with Kennedy stating that as the trend in retail is
towards online shopping, in time this will happen
in the art market as well, it would seem as though
both retailers and manufacturers alike have as yet
to explore this option.
Dot Dickson, owner of The Deckle Edge, the
popular Woodstock-based retailer, says that
although they receive email enquiries around this,
an online store has yet to be set up. The reason
for this is simple: You have to have high stock
holding and need to juggle that with the market.
In the United Kingdom, for example, the market
is much bigger but in South Africa it would take
longer for online sales to really take off.
Stols, however, takes a more romantic approach
to why her business has not as yet followed this
route. Artists, she says, are sensory beings.
They want to see, feel, touch and smell what
theyre buying. And you certainly cant get that off
your laptop screen.
Rather unsurprisingly, Yolanda Kulemann, owner
of the online art supplies store Art Express,
disagrees with these views. When I ask her
whether the South African market has suffcient
volume of trade to sustain this industry, Kulemann
effuses: Oh, absolutely - without a doubt. When
I mention the success of the United States-based
online store Dick Blick, Kulemaan states: Yes,
there massive but online shopping has only
recently caught on in South Africa, whereas in the
United States it has been around for years. Its
huge there. Ours might be a fedgling industry but
even relative new kid on the block, Art Attack,
has since its establishment in October 2010, seen
signifcant growth in sales. Its owner,
Kristina Willman, laughs when she says:
Its actually ridiculous the way it is growing.
The ArtShopper, yet another online retailer, has
however yet to reach these heady sales heights
though is largely attributable to it only being run-
ning for around two months. There is nonetheless,
according to the portals owner Ilse Nieman, a
lot of indirect interest from customers who visit
either the Belville-based store or its website.
For all these online retailers the benefts of online
shopping for consumers are especially felt by
those who have little or no proper art stores. Says
Willman: In South Africa so many small towns
do not have effcient art shops where artists have
access to quality products. For these people, its
much easier to simply order their materials with
just a click.
Willman concedes that the often hefty prices
charged by courier companies do occasionally
cut into the business bottom line. Because, she
offers, we offer free delivery for orders in excess
of R500, the costs here do sometimes affect our
proft margin. Kulemann, on the other hand, man-
ages to avert incurring these costs by utilising the
services of the South African Post offce, some-
thing which, she says, works out quite well for
the business. Although Nieman admits that these
costs are carried by the consumer, the mark-up is
a very low one.
In response to my question around whether
online shopping does not result in consumers
being afraid to try out new brands and therefore
ultimately entrenches the dominance of certain
brands, Willman says: Look, many people
choose to stick to products theyve used for years,
yes. But, because I interact with so many of my
customers via email and often recommend they
try out certain products which are tailor-made for
their needs, many do end up trying new products
or brands. Also remember that, because of the
nature of online shopping, you really have to put
up a lot of product information which in turn allows
people a closer look at what is on offer.
Whether online stores will become de rigueur
when it comes to the purchasing of art sup-
plies has yet to be seen. What is also unclear is
whether current market forces will eventually force
smaller, independent retailers and manufacturers
out of business. What is clear, however, is that
if this situation continues Stols half-joking plea
might soon become a wholly earnest one.
Manufactured in Germany since 1862
and now available in South Africa
Lukas Artist colours
Oil, Acrylic, Watercolour, Gouache, Inks and Mediums
www.lukas.eu
www.primeart.co.za
Trade Enquiries: Southern Art & Graphics
info@southernart.co.za Tel: 021 5937065
ART TIMES | YOUNG ARTIST PROFILE / MARITTE BERGH
Born in 1982 Maritte Bergh lives and works in
Johannesburg, South Africa. She specialized in
painting and sculpture at the National School of
Arts, and thereafter studied at Vega, the Brand
Communication School. After six years as a
graphic designer and art director in
magazines she decided to pursue art full-time.
What inspires her work is the her fascination
of peoples behavior, human emotions, the
interdependence of opposites and the mundan-
ity of existence. Maritte is known for her use of
fctitious characters, birds and animals to illustrate
humanity and the satire of urban existence.
Animals beautifully refect the mundane routines
that we are so caught up in. Seeing the same
robin every morning in the same place, exactly
the same time, or a group of pigeons that go
about their business in the same city square
day by day is alarmingly similar to our own daily
patterns. (Birds seem to crop up most of the
time at this stage) Some of the other bird types
have different connotations some lean toward
being mythical or mysterious, whereas others are
downright mischievous just to get their way, which
is hardly a foreign concept to humans.
In this new body of work Maritte takes on a
more intimate look at existential subject matters
that concern her yet this time refecting on them
through a semi autobiographical approach. The
transition between youth and responsible adult-
hood, the melancholy, confusion and optimism
associated with the above, mark her use of color
line and medium.
She is also featured on the art blog
handsomethings.com.
and on www.mariettebergh.co.za
Maritte Bergh in her studio
(Below) Letting studio critics lie,
(B-R) more of Marittes studio.
Young Artist of the Month:
Maritte Bergh
MARITTE BERGH / YOUNG ARTIST PROFILE | ART TIMES
Manufactured in South Africa since 1994
Oils, Acrylics, Gouache, Inks and Mediums
www.dala.co.za
KV Art Pty Ltd
021 557 8003
(Above) Delicacy - Reverse-glass painting, Reading Ginsberg, Reverse-glass and ink on wood
(Below) The vacant and the bored, Reverse-glass and ink on wood, Shes all I really need, Reverse-glass painting and See the world go wild, Reverse-glass and Wood
This is coming of age? Facing that were not like the dreams we have of ourselves? Unsure of our choices in life? Unable to ever be perfect? Even our heroes are lost and our ideas of adulthood
are a fraudulent myth weve unconsciously inherited. Why not just stay in a world of infantile fantasy? Maybe forever even? Mike MillsThoughts pertaining to the theme:Are you ready to bare
your bones? To accept that youre mortal and that life is to be lived in a way that a sensible mortal would? To construct life as a series of practical building blocks that ultimately guarantee a cosy
coffn and offspring to carry your name? Magic has not much to do with this arrangement, there simply isnt time to spare for it.- Maritte Bergh
d e s i g n | b o o k s a n d c a t a l o g u e s | l a r g e f o r ma t g r a p h i c s | a r c h i v i n g | s p e c i a l i s e d r e t o u c h i n g | i n s t a l l a t i o n s | e x h i b i t i o n d i s p l a y s | d i g i t a l s c a n n i n g
w w w. s c a n s h o p . c o . z a
r u s s e l l j @ s c a n s h o p . c o . z a
Claudia Gurwitz exhibition entitled: Rooted at The Irma Stern Museum, Rosebank, CT
Below Top : Chad Rossouw: A History of Failure Brundyn + Gonsalves, CT . Below centre and Bottom: Arno Carstens Solo Show at The Lovell Gallery, CT
In Living Colour at The Barnard Gallery, CT
Exhibiting Artists Lonwabo Kilani & Ndikhumbule Ngqinambi / Artists Elise Vossgatter and Gabriel Clark-Brown / Asola Goqwana,Wanesila Albert, Ziyana Lategan
UCT Irma Stern Gallery Director Christopher Peter / Christopher Peter, Estelle Jacobs, Lorraine Gurwitz, John Lofty-Eaton, Claudia Gurwitz, Harry Gurwitz / Lourens Jacobsz & Nico de Kock
Guy Thesen and Doris and Leander Brand Beezy Bailey & Arno Carstens, Lovell Gallery, Woodstock, CT. Andries Gouwss Walkabout at KZNSA
Guy Thesen at Cape Pallette, George Andries Gouws opens at the KZNSA Gallery, Durban Arno Carstens opens at The Lovell Gallery, CT
ART TIMES | GALLERY BUZZ
Keith Calders Vindicta Sculpture unwrapping, Alphen Hotel, Constantia
d e s i g n | b o o k s a n d c a t a l o g u e s | l a r g e f o r ma t g r a p h i c s | a r c h i v i n g | s p e c i a l i s e d r e t o u c h i n g | i n s t a l l a t i o n s | e x h i b i t i o n d i s p l a y s | d i g i t a l s c a n n i n g
w w w. s c a n s h o p . c o . z a
r u s s e l l j @ s c a n s h o p . c o . z a
Stephan Welz & Co. Johannesburg Offce
SOUTH AFRICAN
GALLERY GUIDE
Exhibiting Artists Lonwabo Kilani & Ndikhumbule Ngqinambi / Artists Elise Vossgatter and Gabriel Clark-Brown / Asola Goqwana,Wanesila Albert, Ziyana Lategan

John Maytham (Guest Speaker), Keith Calder (Artist) / Debra Calder; Chris Barnard; Kim Highfeld / Tania & Nick Atkinson; Sally Leslie
Upbeat: Stephan Welz & Co Johannesburg Offce Critics: from Vernissage IV 2012 - Ons skrik vir niks! Show
Vernissage IV 2012 - Ons skrik vir niks! Show
Elise Vossgatter: Sternteler AVA Gallery, CT
Pieter van Straten shows at Knysna Fine Art
Infecting the City, CT
Everard Read Gallery Johannesburg
The Imperfect Librarian: Michaelis Galleries, UCT, CT
The Room Gallery, Johannesburg
Slee Gallery, Stellenbosch Salon 91, CT
Elise Vossgatter: Let them eat cake Brenton Maart: Engin from The The Imperfect Librarian, Michaels Galleries
Rhett Martyn, Mine, Room Gallery, Jhb
Herman Neibuhr at The Everard Read Jhb, Torso Front, by Talitha Deetlefs, Slee Gallery www.slee.co.za / Linsey Levendall The march to nowhere Salon 91 CT
Marlies Keith GroundedThe Hanging Gardens at the Absa KKNK. / Grace Knotze on her show Thaw currentlyshowing at The KZNSA Gallery, Durban
ART TIMES | AROUND THE GALLERIES

Peter van Straten fans are in for a treat with Peters latest show see: www.petervanstraten.co.za see more at: www.infectingthecity.com
ABSA LAtelier 2012 - The selection of works attached is no way an indication of preference for a certain work but is rather a selection of pictures of work included in the top 100
ABSA LAtelier 2012
Absa KKNK 2012 Hanging Gardens
South African Belgian International Art Expo SABEX, Tulbagh
KZNSA Gallery, Durban
Herman Neibuhr at The Everard Read Jhb, Torso Front, by Talitha Deetlefs, Slee Gallery www.slee.co.za / Linsey Levendall The march to nowhere Salon 91 CT
East London: Mark Ross Farmer, Taryn King
Johannesburg: John Brophy, Lehlogonolo Mashaba 2 Port Elizabeth: Bamanye Ngxale, Bantu Mtshiselwe and Siyabonga Ngaxi
Marlies Keith GroundedThe Hanging Gardens at the Absa KKNK. / Grace Knotze on her show Thaw currentlyshowing at The KZNSA Gallery, Durban
Work by Jan Vermeiren & Leon de Bliquy to be seen at:South African Belgian International Art Expo (SABEX)
AROUND THE GALERIES | ART TIMES
Anton Kannemeyer
new lithographs
Moulinsart Lawyers I. Hand printed lithograph, 76 x 57 cm. Edition 20.
The Artists Press
Box 1236, White River, 1240 7HO013 751 3225
PDUN#DUWLVWVSUHVVFR]DZZZDUWSULQWVDFRP
Art Times Anton march 2012 advert.indd 1 19/03/2012 8:36 AM
Unisa Art Gallery,Kgorong Building
Ground Floor, Main Campus
Preller and Ridge Street, Pretoria, 0003
Email: ukun1@unisa.ac.za
Tel: (012) 441 5683
21 April to 31 May 2012
Enquiries: (012) 441 5683 / ukun1@unisa.ac.za
Gallery viewing hours: (Tuesday to Friday)
10H00 - 16H00
UNISA
Recent Acquisition
Art Exhibition
Colleen Alborough,Animation (still)
The Whitehouse Gallery
11 THRUPPS ILLOVO CENTRE, Oxford Road ILLOVO
P.O. Box 496, Melrose Arch 2076
Tel : 27 11 268-2115 Fax : 27 11 268-2129
WEBSITE : www.thewhitehousegallery.co.za
EMAIL : alan@whg.co.za : melanie@whg.co.za
MON-FRI 09.30am - 17.00pm
THURSDAY EVENING
17.00pm - 21.00pm
SATURDAY FROM 9.30am - 12.30pm
SUNDAY FROM 12.00pm - 3.00pm
MARC CHAGALL
DAVID HOCKNEY
GILLIAN AYRES
ANDY WARHOL
FREE STATE, GAUTENG | GALLERY GUIDE
Free State
Bloemfontein
Oliewenhuis Art Museum
Until 30 April, Face Value: old heads in modern masks an
etching series by Malcolm Payne.
17 Feb - 9 April in the Main Building, Faena by Nandipha
Mntambo (Standard bank Young Artist) a body of new work
encompassing sculpture, works on paper and video.
27 March 13 May, Christ and the other Person a series
of paintings by Father Frans Claerhout.
20 April 3 June: Rendezvous Art Project: Focus
Painting(Main Building) a travelling exhibition of works by
60 artists which uses painting as a medium.
16 Harry Smith Str, Bloemfontein. T.051 447 9609
karen.marais@nasmus.co.za www.nasmus.co.za
Clarens
Art & Wine Gallery on Main
6 23 April, exhibition by Aviva Maree.
279 Main Str, Clarens T. 058 256 1298 or
Anton Grobbelaar. C. 082 341 8161
anton@artandwine.co.za www.artandwine.co.za
Blou Donki Art Gallery
A vibrant contemporary art gallery, housing a wide variety
of contemporary artworks, functional art, steel sculptures,
bronzes, handmade glass and specializing in photography.
Windmill Centre, Main Str, Clarens T. 058 256 1757
manager@bloudonki.co.za www.bloudonki.co.za
Johan Smith Art Gallery
The gallery permanently exhibits a wide variety of classical
and selected contemporary art works featuring Johan
Smith, Elb van Rooyen, Elga Rabe, Graham Carter,
Nicole Pletts, Gregoire Boonzaier, Otto Klar, and various
others. Specializing in ceramics, the gallery supports artists
such as Hennie Meyer, Karen Sinovich, and Heather Mills,
among others. Collectable bronzes and handmade glass
by David Reade also available.
Windmill Centre, Main Str, Clarens T. 058 256 1620
manager@bhm.dorea.co.za www.johansmith.co.za
Gauteng
Johannesburg
Absa Art Gallery
23 March 12 April, Absa LAtelier Regional exhibition.
Absa Towers North, 161 Main Street, Jhb. T. 011 350 5139
artgallery@absa.co.za www.absa.co.za
Alice Art
1 15 April, the Ernst de Jong Academy of Fine Art
Exhibition. The weekend of 21&22 April, Glendine
and 28&29 April, Giorgio Trobec.
217 Drive Str, Ruimsig. T. 083 331 8466/ 083 377 1470
aliceart@global.co.za www.aliceart.co.za
Bag Factory
30 March 5 April, S A S an exhibition by visiting artists
Fiona Flynn, Kate Tarratt Cross, Mark Thomann, Victoria
Udondian and the winner of the
2012 David Koloane Award Jarrett Erasmus.
10 Mahlatini Street, Fordsburg. T. 011 834 9181
info@bagfactoryart.org.za www.bagfactoryart.org.za
Bailey Seippel Gallery
18 Feb 22 April, Call and Response by Cedric Nunn
show-cases iconic images from 30 years of his career.
Arts on Main, 260 cnr Fox & Berea, CBD Johannesburg
C. 071 227 0910 www.baileyseippel.co.za
Christies
International Auctioneers.
Gillian Scott Berning, Independent Consultant.
T 031 207 8247 Gillian.gsb@mweb.co.za
www.christies.com
CIRCA on Jellicoe
3 April 5 May, Drawing clouds in the Karoo
by Strijdom van der Merwe. 2 Jellicoe Ave. T. 011 788 4805
gallery@circaonjellicoe.co.za www.circaonjellicoe.co.za
Everard Read Jhb
8 March - 7 April, City Chromatic by Hermann Niebuhr
featuring recent landscape paintings of Johannesburg.
6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805
gallery@everard.co.za www.everard-read.co.za
Gallery 2
24 March 14 April, Gallery 2 will be exhibiting work by
various artists including Regi Bardavid, Karin Daymond,
Sam Nhlengethwa, Lauren Palte and Jenny Stadler.
140 Jan Smuts Ave, Parkwood. T. 011 447 0155
joe@gallery2.co.za www.gallery2.co.za
Gallery AOP
24 March - 11 April, Fun and Games ...
drawings by Jaco van Schalkwyk.
14 April - 13 May, Self-Organized Systems drawings
by Neil le Roux.
44 Stanley Ave, Braamfontein Werf (Milpark)
Johannesburg. T. 011 726 2234.
info@artonpaper.co.za www.galleryaop.com
Gallery MOMO
15 March 16 April, Jol Mpah Doohs Lets Take a Walk!
52 7th Avenue, Parktown North, Jhb. T. 011 327 3247
info@gallerymomo.com www.gallerymomo.com
Goodman Gallery
29 March - 21 April, Carla Busuttil.
163 Jan Smuts Ave, Parkwood, Johannesburg
T. 011 788 1113 jhb@goodman-gallery.com
www.goodman-gallery.com
Gordon Institute of Business Science
15 March - 15 April, a majestic exhibition of art by
Richard John Forbes
GIBS, 26 Melville Road, Illovo, Johannesburg.
forumadmin@gibs.co.za www.gibs.co.za
Grahams Fine Art Gallery
29 March 29 April, Essential Marks by
Andr Van Vuuren.
Unit 46, Broadacres Lifestyle Centre, Cnr Cedar & Valley
Rds, Broadacres, Fourways, Jhb. T. 011 465 9192
sarah@grahamsgallery.co.za www.grahamsgallery.co.za
16 Halifax
Works by Michael Heyns, Leon Muller, Braam van Wijk,
Marina Louw, Mimi van der Merwe and other artists can be
viewed by appointment in Johannesburg at 16 Halifax Str,
Bryanston. Dana MacFarlane 082 784 6695
dana@16halifaxart.co.za www.16halifaxart.co.za
In Toto
1 March 10 April, Creation by James Delaney will fea-
ture his oil and acrylic aerial views of landscapes, as well as
his lithographs produced at the Artists Press.
Opening 12 April, Translations: Art into Jewellery Top
South African artists: Karel Nel, Senzeni Marasela, Walter
Oltmann, Diana Hyslop, Loren Kaplan, Norman Catherine,
Michael Frampton, Faiza Galdhari, Dylan Lewis, Marco
Cianfanelli, Wayne Barker and Don Searle have col-
laborated with the Schwartz Jewellers to create art-inspired
jewellery that is to be displayed alongside artworks by
these highly acclaimed artists.
6 Birdhaven Centre, 66 St Andrew Str, Birdhaven.
T. 011 447 6543 www.intotogallery.co.za
Isis Gallery
Leading Art Gallery in Rosebank showcasing todays most
Modern Contemporary Artists.
Shop 163, The Mall of Rosebank.
Contact Daniel Erasmus T. 011 447 2317
info@isisgallery.co.za www.isisgallery.co.za
Johannesburg Art Gallery
29 Jan 8 April, A Fragile Archive an exhibition of works
Gladys Mgudlandlu (1917-1979) as well as works by other
women artists.
26 Feb 22 April, Transference with participating artists:
Vumelani Sibeko and Senzo Shabangu.
King George Str, Joubert Park, Jhb. T. 011 725 3130
tinym@joburg.org.za www.joburg.org.za
Manor Gallery
17 March 14 April, The frst combined exhibition of
the WSA (Watercolour Society Africa), which is the 87th
watercolour exhibition of the society, and the frst all media
exhibition of the ASA (Art Society Africa). Top South African
artists will participate. Come and see paintings of the
highest standard. Manor Gallery, Home of the Watercolour
Society of South Africa. Norscot Manor Centre, Penguin
Drive, Fourways, Gauteng. T. 011 465 7934
gallery@wssa.org.za www.wssa.org.za
Market Photo Workshop
29 Feb 25 April, Tracing Territories a group show.
T. 011 834 1444
info@marketphotoworkshop.co.za
www.marketphotoworkshop.co.za
Russell Kaplan Auctioneers
Auctioneers of Fine Art, Antiques and Collectables.
Ground foor, Bordeaux Court, Corner of Garden &
Allan Roads, Bordeaux.
T. 011 789 7422 or 083 675 8468
rka@global.co.za www.rkauctioneers.co.za
Sandton Auctioneers
Fine Art, Furniture, Carpets & Collectables.
Showroom: No 8 Burnside Ave, Craighall Park, Jhb.
T. 011 501 3360 sandtonauctioneers@telkomsa.net
www.sandtonauctioneers.com
Standard Bank Gallery
7 Feb - 5 April, the Goethe-Institut South Africa, Standard
Bank Art Gallery and Goodman Gallery present the new
exhibition Extra! featuring video installation & visual art by
acclaimed South African artist Candice Breitz.
Cnr of Simmonds & Frederick Str.s, Jhb.
T. 011 631 1889 sue.isaac@standardbank.co.za
www.standardbankarts.co.za
Stephan Welz & Company
24 26 April, Auction of Decorative & Fine Arts,
Ceramics, Silver, Furniture, Jewellery & Books.
13 Biermann Avenue, Rosebank, Johannesburg.
T. 011 880-3125 jhb@stephanwelzandco.co.za
www.stephanwelzandco.co.za
Stevenson Johannesburg
1 March - 6 April, Black Lines sculpture, painting and
installation by Serge Alain Nitegeka.
4 April - 18 May, Land Of Cockaigne 10 large new and
recent paintings by Deborah Poynton.
62 Juta Street, Braamfontein, Jhb. T. 011 326 0034
jhb@stevenson.info www.stevenson.info
Strauss & Co.
Fine Art Auctioneers & Consultants.
Country Club Johannesburg, Corner Lincoln Rd &
Woodlands Drive, Woodmead. T. 079 407 5140
jhb@straussart.co.za www.straussart.co.za
GALLERY GUIDE | GAUTENG, MPUMALANGA
UJ Art Gallery
11 25 April, Drawings a solo exhibition by Louise Hall.
Cnr Kingsway & University Rd, Auckland Park, Jhb.
T. 011 559 2099 aedempsey@uj.ac.za
www.uj.ac.za/artscentre
The White House Gallery
The gallery has a wide ranging portfolio featuring renowned
masters such as Chagall, Marini, Miro, Moore, Portway,
Pasmore, Stella, Picasso, Dine & Hockney - to name a few.
Also the more affordable works of up and coming artists
in Britain and France, along with globally acclaimed South
African artists. Shop G11 Thrupps Centre,Oxford Road,
Illovo,Johannesburg. T. 011 268 2115
alan@whg.co.za www.thewhitehousegallery.co.za
Pretoria
Alette Wessels Kunskamer
The Alette Wessels Kunskamer operates as an Art Gallery
and Art Consultancy, specialising in South African art
as an investment, dealing in Old Masters, and selected
contemporary art. Maroelana Centre, 27 Maroelana Str,
Maroelana, Pretoria. T. 012 346 0728
alette@artwessels.co.za www.artwessels.co.za
Association of Arts Pretoria
21 March - 11 April, In Transit an exhibition of fne art
photography by Alet Pretorius, Liza van Deventer, Theana
Breugem and Lisa Hnatowicz. Walkabout:
Saturday 31 March at 11h00.
31 March - 18 April, Governing bodies an exhibition of
three dimensional works in mixed media by
Erica Schoeman. Walkabout: Saturday 14 April at 11h00.
173 Mackie Str, Nieuw Muckleneuk, Pretoria.
T. 012 346 3100 artspta@mweb.co.za
www.artsassociationpta.co.za
Fried Contemporary
17 March - 14 April, Terra nullius: no-mans land Tribute
artist: Willem Boshoff. Pieter Swanepoel, Sarel Petrus,
Pauline Gutter, Christiaan Harris & Lisa Allen.
28 April - 26 May, Terra incognita: unknown territories
Tribute artist: Minnette Vri. Frikkie Eksteen, Eric Duplan,
Celia de Villiers, Christiaan Harris & Berna Thom.
9 June - 7 July, Terra pericolosa: dangerous grounds
Tribute artist: Diane Victor. Diek Grobler , Gwenneth Miller ,
Carolyn Parton , Sybrand Wiechers, Keith Dietrich,
Karin Preller & Paul Cooper.
430 Charles St, Brooklyn, Pretoria. T. 012 346 0158
art@friedcontemporary.com www.friedcontemporary.com
Front Room Art
Viewing by appointment in April. Works by a wide variety
of artists, including new work by Lucas Bambo, Laurel
Holmes and Braam van Wijk. 116 Kate Ave Rietondale.
Jennifer Snyman 082 451 5584
Jennifer@frontroomart.co.za www.frontroomart.co.za
Gallery Michael Heyns
The Gallery has moved to 194 Haley Str, Weavind Park,
Pretoria. T. 012 804 0869
michael@michaelheyns.co.za www.michaelheyns.co.za
Pretoria Art Museum
27 March - 29 July in the Henry Preiss Hall, Lady Michaelis
Bequest a selection of 17th-century Dutch paintings from
the Michaelis Bequest will be on view.
Until July in the North Gallery Resistance Art & Landscape
Art A selection of artworks by Resistance artists such as
Magadlela, Martins, Dumile, Hodgkins and Kentridge are
on display in the North Gallery. Also on display is a broad
selection of landscape art by artists such as Pierneef, Bat-
tiss, Wenning, Barker and Boonzaaier.
Until December in the South Gallery, A Story of South
African Art a selection of artworks from the permanent
collection of the Museum.
Until December in the East Gallery, Abstract Art a selec-
tion of abstract artworks from the permanent collection of
the Museum.
Until December in the Glass Gallery, Corobrik Collection
a selection of ceramics, representing the development of
studio ceramics and the work of traditional rural potters of
South Africa over the past 30 years is on display.
Until December, Study Collection art media and tech-
niques are illustrated in the Information Centre.
Cnr Schoeman and Wessels Str, Arcadia Park, Arcadia,
Pretoria.T.012 344 1807/8 art.museum@tshwane.gov.za
www.pretoriaartmuseum.co.za
Sandton Auctioneers
Fine Art, Furniture, Carpets & Collectables.
Showroom: 367 Lynnwood Rd, Menlo Park, Pretoria.
T. 012 460 6000 sandtonauctioneers@telkomsa.net
www.sandtonauctioneers.com
St Lorient Fashion and Art Gallery
25 Feb 10 April, a group exhibition entitled Kaleidoscope:
The Energy of Colour
492 Fehrsen Street, Brooklyn Circle, Brooklyn, Pretoria.
T. 012 4600284 anastasi@iafrica.com www.stlorient.co.za
UNISA Art Gallery
13 March 5 April, Messages and Meaning a touring
exhibition of selected artworks from the MTN Art Collection.
Kgorong Building, Ground Floor, Main Campus, Preller Str,
Pretoria.T. 012 441 5683 ukun1@unisa.ac.za
www.unisa.ac.za/gallery
NORTH WEST, MPUMALANGA | GALLERY GUIDE
North West
Potchefstroom
NWU Gallery
22 March - 11 May Playpen by Roger Ballen
Photography and installation by Roger Ballen.
North-West University Gallery, Building E7, NWU
Potchefstroom Campus, Hoffman Str, Potchefstroom.
T. 018 299 4341 email: 20061374@nwu.ac.za

NWU Botanical Gardens Gallery
22 March - 11 May, Miniatures Exhibition Group show.
North-West University Botanical Gardens Gallery
T. 018 299 2753 email: 20049830@nwu.ac.za

Mpumalanga
Dullstroom
Art @ sixty seven
A selection of fne art, ceramics and blown glass art pieces,
by well-known local artists.
Shop no9, 67 Naledi St, Dullstroom, Mpumulanga.
T. 013 254 0335 mikek@boardwalkmanor.co.za
www.shopat67.com
Dimitrov Art Gallery
Lifestyle Complex, shop no.4 on Cnr. Teding Van Berkhout
& Hugenote/ Naledi Street, Dullstroom, Mpumalanga
T. 013 254 0524 C. 082 679 5698
info@dimitrovartgallery.co.za www.dimitrovartgallery.co.za
The New Dimitrov Art Gallery
Situated in the Trams Alley shop no.1, along the R 540
( Naledi Drive ). Opening exhibition Expression of
Freedom by renowned artist Dimitrov.
info@dimitrovartgallery.co.za www.dimitrovartgallery.co.za
White River
The Artists Press
Professional collaboration, printing and publishing of
original hand-printed artists lithographs, by the Artists
Press. Also artists books, monotypes & letterpress prints,
particularly for artists working in SA.Waterfeld Farm near
White River, T. 013 751 3225 www.artists-press.net
The Loop Art Foundry & Sculpture Gallery
A collaboration and network for the avid art patron and
collector as well as a full service facility for the artist. This
is the place where you will fnd a unique and superior item
or have something commissioned that you have always
envisioned. Casterbridge Complex Corner R40 &
Numbi Roads White River T. 013 758 2409
theloop@worldonline.co.za www.tlafoundry.co.za
The White River Gallery
24 March 12 April, Going Home paintings and
photographic landscapes by Vanessa Berlein. Casterbridge
Centre, R 40 Cnr. of Hazyview & Numbi Gate Rd, White
River. C. 083 675 8833 whiteriverg@gmail.com
Coming of Age is a retrospective exhibition of
Artist Proof Studio (APS) which celebrates 21
years of printmaking in Newtown. The exhibition
will open on 6th May 2012 at the Johannesburg
Art Gallery (JAG). This event will be a unique
opportunity to experience the talent and energy
of the artists at Artist Proof Studio as well as
other established artists who have supported the
studios growth over the last 21 years.
Artist Proof Studio, a community based printmak-
ing studio, partners with corporates, patrons,
foundations, artists and individuals to create an
environment in which talented young artists are
offered the space and opportunity to reach their
full potential. Editions of historic and current
Artist Proof Studio artists will be showcased in
18 uniquely curated spaces within the Johan-
nesburg Art gallery. The exhibition will include the
works of Philemon Hlungwane, Nelson Makamo,
Lehlogonolo Mashaba, Lucas Nkgweng,
Kim Berman and many emerging talents. New
releases of editions from collaborating artists in-
clude William Kentridge, Diane Victor, Wim Botha,
Norman Catherine, Paul Edmunds, Gerhard Marx,
Colbert Mashile, Chris Diedericks, Kudzanai
Chiurai and others. Please join us on Sunday the
6th May for a public lecture by William Kentridge
at 2pm, followed by the opening of the exhibition
by Sibongile Khumalo. APS looks forward to host-
ing members of the public at various events dur-
ing the exhibition and will hold a series of lectures,
printmaking demonstrations, and walkabouts
during the month of May at the Johannesburg Art
gallery and at Artist Proof Studio.
There will be regular updates on the website:
www.artistproofstudio.co.za or for more info
contact Tiny at tinym@joburg.org.za or Noli at
admin@artistproofstudio.co.za.
Closing 6th July 2012
striving in our passion towards excellence
t 27(0)13 7582409 f 27(0)11 5075747
theloop@worldonline.co.za
www.theloopartfoundry.co.za & www.thelooponline.co.za
art foundry
the loop
Coming of Age: 21 years of Artist Proof Studio
6th May 2012 : A public lecture by William Kentridge 2:00 - 3:00pm / Opening reception at 3:30pm by Sibongile Khumalo
Send your listings to:
show@arttimes.co.za
By Lloyd Pollak
There could be no more eloquent testimony to the
tragedy of colonialisms devastating assault upon the
indigenous tribal cultures of our country than the work
of Barbara Tyrrell who recorded a world that has now
been almost completely obliterated.
Drive the length and breadth of our land, and never will
you chance upon anyone clad in the tribal attire she
rescued from oblivion. Today her watercolor records
of the vanished glories of African costume seem like
the scenographic fantasies of some brilliant, Surrealist
stage designer. Take Ndebele Bride, Middelburg,
Transvaal for example. Here the body and head
disappear behind a blanket and a heavily beaded hood,
and the one anatomical detail that we can still discern,
a diminutive hand, supports a purely ornamental black
umbrella. The mundanity of this prosaic object,
and the weird extravagance of the costume, create
an unforgettable juxtaposition in which cultures and
continents collide. Is this not the kind of wildly exotic
and bizarre caprice that Leon Bakst might have dreamt
up for les Ballet Russes?
Tyrells brush reveals the same passion for unexpected
combinations of dazzling colors and the riotous visual
intricacy of pattern piled on pattern as the great Rus-
sians, and, although she intended her work to be no
more than a painstakingly accurate record of traditional
tribal clothing, her artistry is everywhere apparent.
The way she foats her fgures upon the ground, the
perfect balance between solids and voids and the
spatial play whereby heads, arms and feet constantly
erupt their confning borders, give her sitters vitality and
a decisive silhouettesque impact. Nothing is allowed
to interfere with her masterful delineation of attire.
Although her titles always cite the name of the sitter, as
in Bushveldt Blonde, Singceni, Swaziland, the blonde
is not allowed to upstage her dress, for these are like-
nesses, rather than portraits, and her sitters are given
the dreamy vacancy of a window-dressers dummy
With rare exceptions, the artist depicts only single
fgures, and these are isolated within a void, with no
cast shadows, and no suggestions of a setting beyond
the occasional tuft of grass.
The result is that Singcenis costume positively
resplends. The colors assume a blazing intensity,
and the yellow red and black checker board patterns
of her robes, fall around her body in folds, setting up a
hypnotic Op-art shimmer and vibration.
Carol Kauffmann, curator of African art at the SANG
claims that the thoroughness and precision of Tyrells
representations of tribal dress make her unprec-
edented and without parallel in South Africa. What
elevates her oeuvre far above the conventional ethno-
graphic record is her complete avoidance of scientifc
aridity. Her love for her sitters and their culture shine
forth from every image. As a young woman, Tyrrell
studied fashion in London, and this educated her eye,
sensitizing her to nuance and detail, and enabling her
to inject the panache of a gifted fashion illustrator into
her watercolors. She infused dry ethnology with a
verve and glamour that immediately captured the public
imagination.
What made Barbara so aware of the physical beauty of
black people and the splendor of their material culture
when most South African whites viewed natives with
disdain?
Participation in the ceremonies of the Zulu people, a su-
perb command of their language, and a close familiarity
with their culture, were an established Tyrrell family
tradition. During the Zulu king, Cetshwayos state visit
to Queen Victoria in 1882, her grandfather acted as
his interpreter, and he also wrote a serious study of the
indigenous tribes, their lore, customs and beliefs. Her
father too excelled at the language, and, for a time, he
worked as an interpreter in the Department of Native
Affairs. Barbara was raised amidst the Zulu, and she
insists that Zulu was our family language, the frst I
learned, and something I spoke every day with my
siblings, parents, the servants and the people living
nearby.
Her parents moved in circles well disposed to the
indigenous tribes, interested in their history, and keen
to honor their customs and etiquette, and it was to
this end that her father insisted his children expressed
themselves in an impeccably pure and formal Zulu,
employing all the appropriate verbal courtesies and
honorifcs. Barbara confded that, now that she is living
in the Cape, what she misses most about Natal is the
music of the language, its dignity, warmth, softness and
fow.
The artist vividly remembers the war dance her father
arranged in honor of the visiting Prince of Wales when
she was but a toddler. The colonial audience was
covered up from ankle to chin in elaborate Edwardian
formal attire more appropriate to a Mayfair drawing
room, than the sweltering Zululand sun. Fierce
ululations, booming drums and the pounding feet of the
Zulus warriors made the dust fy, and the climax came
when the entire impi charged forward brandishing kier-
ies, spears and shields, and causing many a terrifed
spectator to take fight. This vision of the mystery of
darkest Africa imbued Barbara with an intense yearning
to fathom the unfathomable, and plumb the mysteries
of the Zulu psyche.
After studying Fine Art and a stint of journalism, Barbara
realized that she had a vocation, and the purpose of her
life became the recording of traditional tribal apparel at
the eleventh hour - before the pressures of westerniza-
tion and Nationalist political interference caused them to
entirely disappear. She soon found a mentor in Alfred
Duggan-Cronin, an authority on African anthropology,
and befriended Dr Killie Campbell, the notable collector
of tribal Africana, who became her stalwart patron. The
travel writer, T.V. Bulpin also came within Barbaras
orbit, and this was the set amongst whom she chose
to move rather than the torpid suburban Durbanites
basking in the sunshine of the Raj.
The artist converted a Chevrolet van into a mobile
home, and for decades she defed convention by travel-
ling alone all over South Africa and beyond, document-
ing the garb of over twenty-fve different tribes. A
photograph reveals her standing beside her beloved
caravan, a dashing, trousered blonde presenting her
long legged self with the fastidious elegance of a Vogue
model on safari.
The adventurous Barbara was indeed a mould-breaker
and tear-away. Although she married and bore a
son, nothing defected her from her task. Her deep
respect for African culture and profound familiarity with
Zulu language and customs enabled her to win the con-
fdence of her sitters who readily divulged how costume
silently relayed copious information about the rank of
her sitters, their marital status, age, gender, occupa-
tion and economic condition. This sartorial language
relayed copious classifcatory information. In the case
of women, it identifed the tribe they belonged to,
whether they were pubescent or pre-pubescent, ready
for courtship, of marriageable age, or betrothed, brides,
married, mothers, mature matrons or widows.
I visited the artist in her Fish Hoek home, and
discovered that far from being a daunting grande
dame Barbara is an entrancingly droll and whimsical
centenarian with a sense of fun so infectious that we
constantly dissolved into unseemly fts of giggling.
When the worthy burghers of Eshowe learned that
she accepted Zulu hospitality, spent time in kraals,
participated in rituals, and even - horror of horrors
- danced with them, her mother was admonished for
condoning such bad form, and roundly told that such
familiarity with blacks was letting down the side and
just not cricket.
Back in the patriarchal mid 20th century, there was
strong prejudice against women, particularly in the
unenlightened backwaters of the Empire, and Barbara
was patronized by professional anthropologists and
ethnographers. To these learned men, I was neither
a doctor, nor an MA, just another little woman. They
did not take me, or my work, seriously, and felt I should
have rather stayed at home tending to my household
duties.
Those unfortunate enough to move amidst academics
will be familiar with their purse-lipped elitism and dis-
missiveness. Until about six years ago scholars and
curators sniffly dismissed Barbara Tyrrell as a mere
draftswomen devoid of any artistic skill. No Amazonian
feminist art historian gallantly leapt to her defense, no
Boadicea at UCT, no Valkyrie from Wits. Barbara only
ceased to be a trespasser in the groves of Academe
when Haydon Proud, saluted her aesthetic strengths in
a few brief, but pithy, words in his seminal Revisions:
Expanding the Narrative of South African Art in 2006.
This set off a trend. The Constitutional Court acquired
some of her work in 2006: the order of Ikhamanga was
bestowed upon her in 2008, and now her new found
status as an artist, rather than a mere illustrator, has
been commemorated by the current SANG exhibition
which opened on her hundredth birthday. As she
left the gathering in her wheelchair surrounded by an
adoring retinue of near and dear, I saw her smiling with
delight that, at last, she had been granted the secure
niche in history that she had so long deserved.
Barbara Tyrrell and The Quest For The Unfathomable
Make sure that you log onto: www.ezakwantu.com to view more of Barbaras most amazing life. All artwork from the Campbell Collection
BARBARA TYRRELL / ARTIST PROFILE | ART TIMES
Barbara with School friends, B began drawing from a young age, she explains her passion was so strong, that it invariably annoyed boyfriends in high school. B working as an illustrator, London.
Jan 1944. Barbaras frst unaccompanied trip to the amaNgwane, a Zulu speaking clan living along the Drakensberg. As fuel was rationed, she would set up camp for a month. B with mask.
(Above B on a feld trip, (Right) Banukile with B, Barbara explains that she owes more to Banukile then any other person, as it was Banukile who exposed her to Africa and its Tribal People.
(Above) Barbara would make hundreds of drawings while on feld trips, she would also pay her sitters which was unusual at the time. First Born Xhosa type. Peddie Area 1948
ART TIMES | ARTIST PROFILE / BARBARA TYRRELL
Male witchdoctor. Xhosa type. Peddie area 1948. Barbara, Pete (Barbaras son) and Ottie (the dog) 1954
Barbara with School friends, B began drawing from a young age, she explains her passion was so strong, that it invariably annoyed boyfriends in high school. B working as an illustrator, London.
Jan 1944. Barbaras frst unaccompanied trip to the amaNgwane, a Zulu speaking clan living along the Drakensberg. As fuel was rationed, she would set up camp for a month. B with mask.
(Above B on a feld trip, (Right) Banukile with B, Barbara explains that she owes more to Banukile then any other person, as it was Banukile who exposed her to Africa and its Tribal People.
Drakensberg - Natal - driving For the most part Barbara travelled alone, seldom slept under a roof, but always camped nearby one. Trading stores were ideal camp-
grounds because they offered security and were great meeting places for the natives. There she would hear of special events such as weddings, funerals, and initia-
tions, which afforded her many opportunities to draw and paint ceremonial costume. (Bottom left and right) Barbara married Pete Jurgins, and engineer who
assisted Barbara with her career. Their Caravan was the obvious choice for a wedding car! (Top right) Bushveld blond,Singceni Swaziland, 1949
Watercolour. Campbell Collections, UKZN.
Kweta Boy. Xhosa Type. Peddie.1948. Barbara on a feld trip.
Male witchdoctor. Xhosa type. Peddie area 1948. Barbara, Pete (Barbaras son) and Ottie (the dog) 1954
Below top:Ndebele Bride.Middleburg Tvl.1950. Left below: Kweta Boy, Xhosa Type. Peddie.1948.
Middle: Hlonipha Attitude, Amangwane Bride.Winterton. 1949 Below Right: John Mafani Xhosa manhood.Peddie area, 1948
Top: Barbara with Banukile (right) who became my friend
who taught me much about her people. I thank her - for
always. She introduced me to many interesting parties and
other occasions. We had fun together. She could have writ-
ten many books - was a fountain of knowledge - but could
not write. Banukile - I thank you for your happy friendship
and for all the information passed onto me - and for the
shared fun. Banu - bless you wherever you are.
ART TIMES | ARTIST PROFILE / BARBARA TYRRELL
Top: Left XMavikindukuNyawuza Pondo Matron, gala dress.W. Pondoland, 1946.
Top Right: Barbara with Hugh Tracey 1954, Below Left: Barbara in her house in Muizenburg
Below Right Fooling around with Pete - Livingstone, Zambia 1950
(Top and right) Barbara big day Thursday 15 March: her 100th Birthday and her opening of her retrospective show at the SA National Gallery.
(Below): Barbaras 100th Birthday cake and well wishers who heartfully sang her Happy birthday in Zulu and English.
Hanlie Kotze
Hanlie has been painting professionally for fteen
years. The daughter of an artist and gallery owner
grew up in Aliwal North and started writing poetry
at school. She has always been fascinated by the
interpolation of her word art and her visual art.
Her work is a mixture between surrealistically
naive and expressionistic art. She favours
symbolism in her paintings to blend with the
poetry she creates.
Her work requires an extraordinary concentration
and dedication. My work is primarily the
product of my imagination. Art is essentially
an expression of mood and when you combine
poetry with painting, the result becomes even
more so.
Hanlie composes the occasional phrase or a word
coupling, just to help her capture the mood she
wants to convey by the painting. Painting and
poetry say the same thing, she says. I feel both
are a reection of your creative abilities and the
marriage of the two is very natural.
She is now rated among the pantheon of well
known South African artists who can hold
their own anywhere in the world. Hanlie Kotze
is also co-owner of the Alice Art gallery in
Hartbeespoort.
Ek kan voel
dat jou siel
soos sade
vir altyd al
bestaan
Hanlie Kotze
Hanlie has been painting professionally for fteen
years. The daughter of an artist and gallery owner
grew up in Aliwal North and started writing poetry
at school. She has always been fascinated by the
interpolation of her word art and her visual art.
Her work is a mixture between surrealistically
naive and expressionistic art. She favours
symbolism in her paintings to blend with the
poetry she creates.
Her work requires an extraordinary concentration
and dedication. My work is primarily the
product of my imagination. Art is essentially
an expression of mood and when you combine
poetry with painting, the result becomes even
more so.
Hanlie composes the occasional phrase or a word
coupling, just to help her capture the mood she
wants to convey by the painting. Painting and
poetry say the same thing, she says. I feel both
are a reection of your creative abilities and the
marriage of the two is very natural.
She is now rated among the pantheon of well
known South African artists who can hold
their own anywhere in the world. Hanlie Kotze
is also co-owner of the Alice Art gallery in
Hartbeespoort.
Ek kan voel
dat jou siel
soos sade
vir altyd al
bestaan
art times MARCH 2012 3/9/12 3:34 PM Page 1
Composite
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Salon A & B: Izak Vollgraaff & friends
Salon C: Hermien van der Merwe
RUST-EN-VREDE GALLERY
10 Wellington Road, Durbanville
Tel +27 (0)21 976 4691
www.rust-en-vrede.com
H
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OPENING 3 APRIL 2012 TO 3 MAY 2012
The Cape Gallery, 60 Church Street seeks
to expose fine art that is rooted in the South
African tradition, work which carries the unique
cultural stamp of our continent and yet can
touch the imagination of others who view it.
Rotating exhibitions add to the diverse and often
eclectic mix of work on show. The Church Street
walking mall is the oldest in Cape Town.
featured artist: Teresa Decinti
THE CAPE
GALLERY
Open Mon - fri: 9h30 - 17h00
Sat: 10h00 - 14h00
27 21 423 5309
cgallery@mweb.co.za
www.capegallery .co.za
C
M
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CM
MY
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2-15-12 SA Art Time Judy Woodbourne.pdf 1 2012/03/07 2:32 PM
Experience the abundance of South African
artistic talent by prominent South African Artists.
STELLENBOSCH
Kunsgalery
Art Gallery
Tel/Fax: 021 887 8343
Cell: 082 566 4630 / 076 279 2175
34 Ryneveld Street, Stellenbosch
www.stellenboschartgallery.co.za
e-mail: mjg@kingsley.co.za
hester@stellenboschartgallery.co.za
John Kramer, General store, Pearston
oil on canvas, 37cm x 61cm
M I C H A E L H A L L
P H O T O G R A P H Y
021 461 6344
www.mikehallphoto.com
Maquette for Swell
- Justin Fiske
Anthonys
Jan Vermeiren & Leon de Bliquy
SABEX
SOUTH AFRICAN BELGIAN INTERNATIONAL ART EXPO
31 March - 09 April
Monbijou
36 Church Street Tulbagh
email: tulbagh@telkomsa.net
Tel/Fax: 023 230 0100 Mobile: 083 291 6600
Silberberg Fine Art
Cape East Asia Group
wide selection of works by leading South African contemporary artists
Exclusive distributors of
Pieter
van der Westhuizen
etchings
full selection on website
1st oor
Cape Quarter Square
27 Somerset Road,
Green Point
Ph: 021 421 3333
email: carmel@global.co.za
website: www.carmelart.co.za
PAUL
SENYOL
The Man of Dust
26 APRIL - 26 MAY
91 KLOOF STREET
GARDENS, CAPE TOWN
082-679-3906
info@salon91art.co.za
www.salon91art.co.za
We are the original and first
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Tel: 021 447 3988
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ELLIOTT
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Western Cape
Cape Town
Absolut Art Gallery
Permanent exhibition with the best Masters and
Contemporary artists. Namely : JH Pierneef, Gerard
Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder,
Maurice Van Essche, Tinus De Jongh, Gerard Bhengu,
Ephraim Ngatane, Cecil Skotnes, JEA Volschenk,
Conrad Theys, William Kentridge, to name a few.
Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive,
Tyger Valley, Bellville. T. 021 914 2846
info@absolutart.co.za www.absolutart.co.za.
Art b
14 March 11 April, Absa LAtelier Regional Exhibition.
02 May 18 June, Selected prints from the CAP Collection.
The Arts Association of Bellville, The Library Centre,
Carel van Aswegan Str, Bellville. T. 021 918 2301
info@artb.co.za www.artb.co.za/gallery.htm
Artvark Gallery
On show in April, Watercolours by Fawa Conradie of
Karoo landscapes. Open 7 days a week 9-6.
48 Main Rd, Kalk Bay Tel 021 788 5584
artvark@iafrica.com www.artvark.org
AVA
Opening 10 April @ 6pm, Dripping Away Unattended into
Shadows a series of bold and compelling paintings by
Odette Marais and Wired World a photographic explora-
tion by Catherine Sassoon as well as Inja Elele is a
photography exhibition produced through the Iliso Labantu
project. Iliso Labantu is a not-for-proft organisation started
by Photographers who live and work in townships around
Cape Town. On show until 4 May. Association for Visual
Arts, 35 Church Str, CT. T.021 424 7436 art@ava.co.za
www.ava.co.za
The Avital Lang Gallery
New at the gallery Shannon Phillips, Rhona Kestan, Adele
Golding and many more. The gallery is also available for
new up and coming artist to come in and display their work,
we also continue to do our ceramic painting classes.
Two Oceans House, Surrey Place, Mouille Point, CT.
(Next to Newport Deli) T. 021 439 2124
avital.artistinc@gmail.com www.avitallang.com
Barnard Gallery
14 March 11 April, In Living Colour by Ndikhumbule
Ngqinambi & Lonwabo Kilani.
Opening 18 April, Just a Matter of Time a solo exhibition
by Jaco van Schalkwyk. 55 Main St, Newlands.
T. 021 671 1666 gallery@barnardgallery.com
www.barnardgallery.com
Blank Projects.
Opening 12 April @ 18:00, Paintings by Jan-Henri Booyens
on show until 12 May.
113-115 Sir Lowry Rd, Woodstock, CT. C.072 507 5951
info@blankprojects.com www.blankprojects.com
Brundyn & Gonsalves (formely iArt)
20 March - 2 May, A History of Failure a variety of media,
including lithographs, sculpture and found objects by
Chad Rossouw. 71 Loop Str, CT. T. 021 424 5150
info@brundyngonsalves.com www.brundyngonsalves.com
Cape Gallery
25th March - 14th April, a group exhibition of works by
Ariadne Petousis, Rosie Sturgis and Teresa Decinti show-
ing their sense of African-ness Each artist has close ties to
this land, the fora and fauna contained with it.
Opening on Sunday 15th April at 4.30 p.m. Bright Horizons
- Inspiration: Cape Town a solo exhibition of recent work by
Sybille Lampe, on show until 5 May.
60 Church Str, CT. T. 021 423 5309
web@capegallery.co.za www.capegallery.co.za
Carmel Art
Dealers in Fine art, exclusive distributers of
Pieter van der Westhuizen etchings.
Cape Quarter Square, 27 Somerset Rd, Green Point.
T. 021 4213333 carmel@global.co.za www.carmelart.co.za
Cedar Tree Gallery
Contemporary Fine Art Gallery at Rodwell House.
Rodwell Rd, St. James, CT. T. 021 797 9880
cedartreegallery@gmail.com www.cedartreegallery.co.za
The Cellar Private Gallery
The Cellar Private Gallery of Art deals exclusively in original
& investment art, offering works by a variety of renowned &
upcoming SA artists.
12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189
info@thecellargallery.co.za www.thecellargallery.co.za
Christies International Auctioneers.
Juliet Lomberg, Independent Consultant. T. 021 761 2676
jlomberg@iafrica.com www.christies.com
Christopher Mller Art
29 March 12 April, a solo exhibition for artist M.J Lourens
entitled Peninsula will feature scenes in and around Cape
Town. 7 Kloofnek Road, Gardens, C T. T. 021 422 1599
Info@christophermollerart.co.za
www.christophermollerart.co.za
Erdmann Contemporary & Photographers Gallery za
21 March 28 April, Chinese Paper-Cuts paper cutting
from Shaanxi a group exhibition of 51 works.
63 Shortmarket Street, CT. T. 021 422 2762
galleryinfo@mweb.co.za
www.erdmanncontemporary.co.za
Everard Read CT
22 March 5 April, Morning, Noon & Night Scenes of
Cape Town and the beautiful Western Cape painted
en plein air by UK painter Nick Botting.
Opening Thursday 19 April @ 18:30, new works by
David Bromley until 3 May.
3 Portswood Rd, Victoria & Alfred Waterfront, CT.
T. 021 418 4527 ctgallery@everard.co.za
www.everard-read-capetown.co.za
34 Fine Art
27 March 28 April, Between Ourselves a Solo Exhibition
by Jade Doreen Waller.
2nd Floor, The Hills Building, Buchanan Square, 160 Sir
Lowry Rd, Woodstock. T.021 461 1863
info@34fneart.com www.34fneart.com
The Framery Art Gallery
25 March - 15 April, Sea the Point Darling an exhibition
and auction of paintings by performing artists! This exhibi-
tion is co-curated with performer Godfrey Johnson and will
beneft The Darling Trust and Art department of Sea Point
High School. Participating artists include
Evita Bezuidenhout, Karen Jayne, Roland Perold,
Godfrey Johnson, Fiona du Plooy, Godfrey Johnson,
Megan Furniss, Didi Moses, Emile Minnie among others.
Thank you to our frst sponsor The Artists Friend.
67g Regent Rd, Seapoint. T. 021 434 5022 C. 0781227793
debbiegrewe@gmail.com
Gill Allderman Gallery
The Gill Allderman Gallery is dedicated to promoting some
of South Africas valuable talent. Having moved into cyber
space, but based in Kenilworth, Cape Town, the gallery will
be specialising in home and corporate visits.
C.083 556 2540 gallery@new.co.za
www.alldermangallery.co.za
Goodman Gallery Cape
10 March 14 April, Throwing the Floor paintings by Lisa
Brice. 3rd Floor, Fairweather House, 176 Sir Lowry Rd,
Woodstock. T. 021 462 7573/4
cpt@goodman-gallery.com www.goodman-gallery.com
Hout Bay Gallery
New artworks by Sarah Danes Jarrett, David Kuijers,
Koos De Wet and many more. Open 7 days a week.
71 Victoria Ave, Hout Bay.
T. 021 790 3618 F. 021 790 3898
info@houtbaygallery.co.za www.houtbaygallery.co.za
Infn Art Gallery
A gallery of work by local artists.
Wolfe Str, Chelsea Village, Wynberg.
T. 021 761 2816 & Buitengracht Str. CT. T. 021 423 2090
gallery@infnart.co.za www.infnart.co.za
Irma Stern Museum
17 March - 11 April, Rooted featuring paintings by
Claudia Gurwitz. Cecil Rd, Rosebank, CT. T. 021 685 5686
irmastern@uct.ac.za www.irmastern.co.za
Iziko SA National Gallery
Until 10 April 2012, Renowned British conceptual and land
artist, Richard Long, presents a solo exhibition of works
made in southern Africa over the last 50 years.
Until 13 May, Listening to Distant Thunder:
The Art of Peter Clarke
16 March 8 July,
A Centenary Celebration of the Life and Work of
Barbara Tyrrell.
25 Queen Victoria Str, CT. T. 021 467 4660
info@iziko.org.za www.iziko.org.za
Iziko Michaelis Collection
Ongoing, Dutch treat: Dutch works from the 17th20th
centuries in Iziko collections
Iziko Michaelis Collection, Old Town House, Greenmarket
Square, CT. T. 021 481 3800 hproud@iziko.org.za
www.iziko.org.za
Iziko Castle of Good Hope
From 26 Feb 2012 to 26 Feb, 2013,
Fired an exhibition of South African ceramics.
Buitenkant Str, opposite the Grand Parade, CT.
T. 21 464 1262 kmooney@iziko.org.za www.iziko.org.za
Johans Borman Fine Art
Currently showing a selection of works by SA Masters
Walter Battiss, Erik Laubscher, Peter Clarke, Cecil Skotnes,
Pranas Domsaitis and Sydney Kumalo, as well as new
works by contemporary artists Hussein Salim, Walter
Meyer, Hennie Niemann Jnr, Jacobus Kloppers and
Jaco Sieberhagen.
16 Kildare Road, Newlands, CT. T. 021 683 6863.
art@johansborman.co.za www.johansborman.co.za
Kalk Bay Modern
Opening Thursday 6:30 pm 12 April, a solo exhibition of
recent works by Nicolaas Maritz, titled Lucky Packet No.2
on show until 12 May. 1st Floor, Olympia Buildings,
136 Main Rd, Kalk Bay. T.021 788 6571
kbmodern@iafrica.com www.kalkbaymodern.com
Lindy van Niekerk Art Gallery
A large selection of artworks by new and prominent South
African artists and SA old Masters.
31 Kommandeur Rd, Welgemoed, Bellville.
T. 021 913 7204/5 lindy@artpro.co.za www.artpro.co.za
The Lovell Gallery
1 March 14 April, Arno Plus+ Arno Carstens brings his
long lost love for painting to the fore and to the public for the
frst time in his frst solo exhibition held at The Lovell Gallery
in Woodstock. Visitors to the gallery can enjoy Carstens
visual as well as vocal talent in a unique art plus music;
Arno plus friends experience.
24 April 19 May: Tanisha Bhana, Transience. Her work
employs a fascination in deliberately destroying digital im-
ages in order to create aged, dreamlike visions of futuristic
landscapes, to place the viewer in the position of looking
GALLERY GUIDE | WESTERN CAPE / CAPE TOWN
back at our future. The reception evening will be on
26 April and all are welcome.
139 Albert Rd, Woodstock. T. 021 820 5505
info@lovellgallery.co.za www.lovellgallery.co.za
Martin Osner Fine Art Gallery
16 March 10 April, Collaborative Exhibition
featuring three artists: Klaus Tiedge, wildlife photographer
extraordinaire, will be unveiling his latest 2012 Pride Of
Africa collection; Sandy Mclea has broken new boundaries
with his work of dramatic seascape imagery shot along the
shores of Whales and Cape Town; and Martin Osner will be
showcasing a new body of work which he photographed in
Namibia last year where he presents simplistic high impact
imagery portraying derelict windswept structures.
Shop A14, Cape Quarter Piazza, 72 Waterkant Str,
Green Point, CT. T. 021 790 6494
info@martinosner.com www.martinosner.com
Red! The Gallery
Derric van Rensburg is rated as one of South Africas top
practising artists. His son Ryan Van Rensburg is a
successful artist in his own right. The gallery will host both
father & son at a Paint Jam style exhibition on Tuesday 3
April @ 7pm. Three course seated dinner in the gallery.
R200 per head.Also Thursday 10 May @ 7pm, Joint exhibi-
tion featuring Michael Waters & David Kuijers. The gallery
will exhibit a great new body of work by these two great art-
ists. It will be a live Paint Jam style exhibition with a seated
dinner in the gallery.R200 per head for a three course meal.
Steenberg Village shopping centre ,Reddam Avenue, Tokai.
T. 021 7010886 red@redthegallery.co.za
www.redthegallery.co.za
Rose Korber Art
1 30 April, extension of Recent Works by leading,
contemporary South African artists. A comprehensive and
varied overview, covering the spectrum
of what is currently being produced. Includes works by
William Kentridge, Richard Smith, Robert Slingsby, JP
Meyer, John Kramer, Deborah Bell, Penelope Stutterheime,
Pamela Stretton and Georgia Lane.
Hours: Monday-Friday: 9 am 5 pm. Weekends and public
holidays by appointment. 48 Sedgemoor Rd, Camps Bay,
CT. T. 021 438 9152 C.082 781 6144
roskorb@icon.co.za www.rosekorberart.com
Rudds Auctioneers
Antique, Fine and Decorative Art.
87 Bree Street, CT. T.021 426 0384
info@rudds.co.za www.rudds.co.za
Rust-en-Vrede Gallery
3 April 3 May, In Salon A & B: Izak Vollgraaff and friends:
Odds & Ends, in Salon C: Hermien van der Merwe: Still Life
exhibition and In The Cube: Ceramics by Ralph Johnson
& students.
10 Wellington Rd, Durbanville. T.021 976 4691
rustenvrede@telkomsa.net www.rust-en-vrede.com
Salon 91
4 21 April, The River by Louis Minnaar & Maaike
Bakker. These two Pretoria visual artists present a twisting
narrative exhibition of collaborative visual works.
26 April 26 May, The Man of Dust a solo exhibition of
paintings by Paul Senyol.91 Kloof Str, Gardens, CT. T 021
424 6930 info@salon91art.co.za www.salon91.co.za
South African Print Gallery
A wide selection of fne art prints by South African masters
and contemporary printmakers.
31 March- 26 April, John Moore exhibition.
28 April-24 May, Theo Paul Vorster exhibition.
109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851
info@printgallery.co.za www.printgallery.co.za
SMAC Art Gallery, Cape Town
1 April - 30 May, Collection 16 a group show.
In-Fin-Art Building,Buitengracht Str, CT. T. 021 422 5100
info@smacgallery.com www.smacgallery.com
StateoftheArt.co.za Online Art Gallery
A curated online art gallery bringing you original and afford-
able artwork created by selected Fine Arts students and
graduates emerging from South Africas most prestigious
art schools. With an extensive selection of styles and
genres to refect your taste, budget and requirements, and
a range of services to support your choices, buying art
couldnt be any simpler. T. 0724709272
info@StateoftheArt.co.za www.StateoftheArt.co.za
Stephan Welz & Company
Auctioneers of Decorative and Fine Arts.
The Great Cellar, The Alphen Hotel, Alphen Drive, Constan-
tia. T. 021 794 6461
ct@stephanwelzandco.co.za
www.stephanwelzandco.co.za
CAPE TOWN / WESTERN CAPE | GALLERY GUIDE

First Open Access Studio : 8 am to 8 pm Mon - Sat, Cape Town
A lot of artists cant always ft in the pleasure of making prints from 9-5, a lot have
jobs, dogs & kids. Dont be boring, come round for a jol and a drink and make a
scratching or two. We have Emma who always knows whats technically going on.
Oh yes we have a Heaven Pizza Delivery business, ready with a hardgrounded
plate and the tools to go, if you want to eat and draw in. We will deliver & collect your
drawing and etch it, as well as proof it, and deliver it. To artists sitting making art is
like Heaven, hence: Heaven Press
For more inspiration go to: www.heavenpress.co.za
HEAVEN PRESS
Pop up for a seriously enjoyable printmaking experience
GALLERY GUIDE | WESTERN CAPE/ OVERBERG
Stevenson Cape Town
4 April - 12 May, a group exhibition Trade Routes over
Time Ground Floor, Buchanan Building, 160 Sir Lowry Rd,
Woodstock, CT. T. 021 462 1500 cpt@stevenson.info
www.stevenson.info
Strauss & Co.
Fine Art Auctioneers & Consultants.
The Oval, 1st Floor Colinton House, 1 Oakdale Rd,
Newlands. T. 021 683 6560 ct@straussart.co.za
www.straussart.co.za
What if the World Gallery
8 March 14 April, The Truth Lies Here
solo exhibition by Dan Halter.
208 Albert Rd, Woodstock, CT. T. 021 448 1438
info@whatiftheworld.com www.whatiftheworld.com
Franschhoek
Ebony
Exhibition of South African Masters. Gerard Sekoto, Alexis
Preller, Maud Sumner, George Diederick During,
Gordon Vorster and Ephraim Ngatane.
11 Huguenot Street, Franschhoek. T. 021 876 4477
info@ebonydesign.co.za www.ebonydesign.co.za
The Gallery at Grande Provence
11 March 25 April, Of Honey Thieves and Egg Eaters,
by well known Cape Town based artist, Jop Kunneke. Also
in the Project Room & Cathedral a selection of artworks by
eminent South African artists will be on show.
Main Rd, Franschhoek. T. 021 876 8630.
gallery@grandeprovence.co.za
www.grandeprovence.co.za
Holden Manz Collection
New Karin Miller collages, Marie Stander charcoals and a
set of 43 amazing Cecil Skotnes woodcuts are on show at
the moment well worth a visit!
30 Huguenot Str, Franschhoek T. 021 876 44 02
info@holdenmanz.com www.holdenmanz.com
Is Art
19 Feb 16 April, Group Exhibition with paintings by
Deanne Donaldson and Lyn Gilbert, ceramics by
Nicolene Swanepoel and sculpture by Sarel Petrus.
16 Huguenot Str, Franschhoek. T. 021 876 8443
isart@lqf.co.za www.is-art.co.za
George
Hyatt Regency Oubaai
From 1 March, Transitions a collection of new sculptures
by Anton Smit. 406 Herolds Bay Rd,George.
T. 044 851 1234 Milissa.els@hyatt.com
www.oubaai.regency.hyatt.com
Strydom Gallery
Opening Sunday, 1 April @ 11h00, two exhibitions:
Circles, Cycles and Seasons on show until 30 April
and Altered Pieces on show until 29 April.
79 Market Str, George. T. 044 874 4027
info@artaffair.co.za www.artaffair.co.za
Hermanus
Abalone Gallery
During April in the Main Gallery: Painting, drawing and
sculpture group show with Christo Coetzee, John Clarke,
Jackson Hlungwani, Tadeus Jaroszynski, Judith Mason,
Lynette ten Krooden, Carl Roberts and Susanna Swart.
In the Annex: 14 April - 20 May: Recent works on canvas
and on paper by Louis van Heerden.
2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935
info@abalonegallery.co.za www.abalonegallery.co.za
Art Amble Hermanus Village
Ten diverse and unique Galleries all within walking distance
in the heart of Hermanus Village. Four resident artists
studios to visit. Collect your Art Amble Guide at any one
of the Galleries in Main Road or at the Hermanus Tourism
Offce. Contact Terry Kobus on 083 259 8869
originals@hermanus.co.za
Originals Gallery
The art studio and gallery of Terry Kobus. See the artist
at work in his studio and view his latest paintings in an
intimate gallery space.
Shop 22 Royal Centre, 141 Main Rd, Hermanus.
T. 083 259 8869 originals@hermanus.co.za
www.OriginalsHermanus.blogspot.com
Shelley Adams Studio & Gallery
A permanent exhibition of artworks by Shelley Adams in her
personal studio space. She also offers ongoing art courses,
crit classes and workshops.
19A Royal Centre, Main Rd, Hermanus. C. 072 677 6277
www.shelley-adams.com
Walker Bay Art Gallery
View the wide selection of paintings, sculpture & ceramics
by established as well as up and coming South African art-
ists. 171 Main Rd, Hermanus. contact: Francois Grobbelaar
028 312 2928 francois@walkerbayartgallery.co.za
www.walkerbayartgallery.co.za
Klein Karoo
Sheena Ridley Open Studio and Sculpture
Garden Sculptures and Paintings
N9 Langkloof near Uniondale, Klein Karoo T. 083 5892881
sheena@ridley.co.za www.ridley.co.za
Knysna
Dale Elliott Art Galleries
Leaders of the painting course concept in South Africa!
2 Galleries: Woodmill Lane Shopping Centre & The Knysna
Mall T. 044 382 5646 dale@daleelliott.co.za
www.daleelliott.co.za
A Different Drummer
An on-going exhibition of traditional African artefacts, photo-
graphs, ceramics, sculpture, paintings and objets de vertu.
Thesen House, 6 Long Street, Knysna.
T. 044 382 5107 gallery@fnearts.co.za
Knysna Fine Art
Two Openings on Thursday 5 April: Long Distance
photography by Obie Oberholzer and Encounters on the
Edge oil paintings by Peter van Straten.
Thesen House, 6 Long St. T. 044 382 5107
gallery@fnearts.co.za www.fnearts.co.za
Sally Bekker Art Studio
Ongoing exhibition Recent Watercolour and Oil Paintings
Upstairs in the Knysna Mall. C.082 342 3943 sally_
bekker@hotmail.com

Langebaan
Bay Gallery
Bay Gallery supports excellent, local artists, many of whom
are members of S.A.S.A. All mediums exhibited.
Marra Square, Bree St., Langebaan.
Contact: Daphne 073 304 8744
baygallery@xsinet.co.za www.baygallery.co.za
Oudtshoorn
ABSA KKNK
31 March -7 April, the ABSA Klein Karoo Nasionale
Kunstefees. Various galleries participating in and around
Oudtshoorn as well as Calitzdorp, Kruisrivier, De Rust and
Prince Albert. Tickets available at www.computicket.com
For more information contact the Festival Offce
T. 044 203 8600 info@absakknk.co.za
www.absakknk.co.za
ArtKaroo Gallery
KKNK 2012: The theme for this year is Water, drawing
inspiration from this strange elements mystical properties.
There will be some bizarre installations and beautiful
artworks by artists from the Karoo all exploring this theme.
107 Baron van Reede, Oudtshoorn. T.044 279 1093
janet@artkaroo.co.za www.artkaroo.co.za
Paarl
Hout Street Gallery
The Hout Street Gallery specialises in South African paint-
ings and fne art and offers an extensive range of ceramics,
sculpture, creative jewellery, glass, crafts and functional art.
270 Main Str, Paarl. T. 021 872 5030
zetler@icon.co.za www.houtstreetgallery.co.za
Piketberg
AntheA Delmotte Gallery
Opening 15 April @ 11am, Images from the Platteland
a group show with John Kramer, Clare Menck, Merle de
Jager, AntheA Delmotte, Annelie Venter
The Old Bioscope, 47 Voortrekkerstr. C. 0732817273
anthea@adgallery.co.za
Plettenberg Bay
The White House
Opening 2 April at 6pm (Drinks will be served), Objects of
Beauty & Desire an exhibition of contemporary paintings,
sculptures & ceramics on show until Friday 13 April. Open-
ing Times: 10 am to 4:30 pm Monday to Friday,
Saturday 9 am to 2 pm. No. 6 Crescent St, Plettenberg
Bay. Contact: Jean-Mari 083 412 5211
Stellenbosch
IS Sculpture
8 March July 2012, an exhibition of sculpture by Ian
Redelinghuys and curated by Ilse Schermers Griesel of IS
Art will be on show at the Tokara Delicatessen, Helshoogte
Road, Banhoek, Stellenbosch. T. 021 876 8443
isart@lqf.co.za www.is-art.co.za
Rupert Museum
28 Sept 2011 1 Sept 2012, an extensive selection of
works by Willem Strydom consisting of sculptures and
unique drawings.
Stellentia Avenue, Stellenbosch T. 021 888 3344
saw@remgro.com www.rupertmuseum.org
Sasol Art Museum
2 March - 21 April, Paul Emsley exhibition.
2 March - 21 April, Klei-Klank with works by
Laura du Toit & Hannelore Olivier.
Until end October 2012, 20Stellenbosch: two decades of
South African Sculpture (inside sculptures) David Brown,
Jackson Hlungwani, Noria Mbasa, Collen Maswanganyi,
Samson Mudzunga, Meshack Raphalalani & Philip
Rikhotso. 52 Ryneveld Str, Stellenbosch T. 021 808 3691
corliah@sun.ac.za
Slee Gallery
15 March 10 April, Skin an exhibition of unique
metal sculptures by Talitha Deetlefs.
Opening 12 April @ 18:30, Wilko Roon and his portrayal of
Paternoster People until 26 April.
101 Dorp Street, Stellenbosch. T. 021 887 3385
gallery@slee.co.za www.slee.co.za

Hotels Casinos Restaurants Spas Corporates Homes
Decorative art Accessories Framing Sourcing Installation
Photography Sculpture Fine art Objet d art Ceramics
Elain Steinberg
t 011 453 9694/0
f 086 632 8481
c 082 888 0652
e elain@tiscali.co.za
www.abstractartstudio.co.za
Spier
8 March 31 May, Tamlin Blakes exhibition Altered Yarns
presents a series of tapestries woven from re-cycled,
handspun newspaper.
Spier Wine Tasting Venue, R310, Stellenbosch.
www.spier.co.za
Stellenbosch Art Gallery
An extensive selection of paintings, sculpture, handmade
glass & ceramics by selected Western Cape artists are on
offer to the discerning buyer.
34 Ryneveld Str, Stellenbosch. T. 021 887 8343
mjg@kingsley.co.za www.stellenboschartgallery.co.za
US Art Gallery (University of Stellenbosch)
Until 21 April, Paul Emsley, Wordfest 2012 Artist, Retro-
spective Exhibition.
Weds 11 April @ 13:00 walkabout of the Paul Emsley
exhibition, R30 per person.
Cnr of Dorp and Bird Str, Stellenbosch.
T. 021 808 3524/3489 corliah@sun.ac.za
Somerset West
Liebrecht Art Gallery
10 - 27 April, Pilgrimage/Pelgrimstog: Journeys of great
spiritual signifcance
Works in mixed media by Samarie Smith, Johann Burger,
Annaliese Brink and Winet Vermaak. 34 Oudehuis Str,
Somerset West. T. 021 852 8030 C. 082 304 3859
vineyardartists@gmail.com www.liebrechtgallery.com
Villiersdorp
Dale Elliott Art Gallery
Leaders of the painting course concept in South Africa!
80 Main Rd, Villiersdorp. T. 028 840 2927
dale@daleelliott.co.za www.daleelliott.co.za www.elliot-
tartonline.wordpress.com
Wilderness
Beatrix Bosch Studio
Unique works in leather as well as paintings & photography
can be viewed at her studio.
57 Die Duin, Wilderness. T. 044 877 0585
www.beatrixbosch.co.za
Eastern Cape
Alexandria
Quin Gallery & Sculpture Garden
Enjoy refreshments under the jacaranda tree while enjoying
the sculptures of international sculptor Maureen Quin.
5 Suid Str, Alexandria, Eastern Cape, following the signs
from the main street.
T. 046 6530121 C. 082 7708000
quin@intekom.co.za www.quin-art.co.za
East London
Ann Bryant Gallery
29 March -14 April, Eric Eatwell exhibition in the
Coach House.
Opening 19 April at 18h30 in the Coach House charcoal
drawings by Valerie Liebenberg and textile art pieces by Au-
dette Jooste. Exhibition concludes Saturday 5th May. 9 St.
Marks Rd, Southernwood, East London. T. 043 722 4044
annbryant@intekom.co.za www.annbryant.co.za
Malcolm Dewey Fine Art
Ongoing exhibition of oil paintings by Malcolm Dewey plus
works by a selection of local artists.
60 Darlington Rd, Berea, East London. T. 043 7260421
art@dewey.co.za www.originalart.co.za
Vincent Art Gallery
The gallery houses an exceptional collection of fne arts,
sculptures, blown glass, ceramics, exclusive jewellery and
decor items.
2 Donald Rd, Vincent, East London. T. 043 726 4356
vinceart@lantic.net www.vincentartgallery.co.za
Port Elizabeth
ArtEC
25 March 14 April, Easter Cathedral a group exhibition
by Marius Lourens and Frans Boekkooi, Alida Bothma,
Thys Cilliers, Bev de Lange, Trevor Melville, David Jones,
Anthony Keogh, Wehrner Lemmer, Lizo Pemba, Bretton-
Anne Moolman, Amanda Snyman, Nico Swart, Andrieta
Wentzel.
Opening 16 April @ 5.30pm for 6.00pm to 4 May, New
Signatures Exhibition works by art students and emerging
artists in the Eastern Cape.
36 Bird Str, P.E. T. 041 585 3641
gallery@artecpe.co.za
www.artecpe.co.za
Nelson Mandela Metropolitan Art Museum
4 Feb 13 May, Process revealed: How artworks are
made See how artworks came to life as we reveal the
rough drawings and sketches of Fred Page, Hilary Graham,
Joan Write, Norman Blamey, Phil Kolbe and others, along-
side their completed work.
3 March 6 May, George Milwa Mnyaluza Pemba (1912-
2001)It is the 100th anniversary of George Pembas birth
this year and to celebrate this milestone, the South African
Post Offce has released a set of commemorative stamps.
Be a part of the celebration by coming to the Art Museum
and seeing the stamps next to the original artworks.
15 March 6 May, Ceramics Southern Africa (Eastern
Cape) Annual Regional Exhibition 2012
1 Park Drive, Port Elizabeth. T. 041 5062000
artmuseum@mandelametro.gov.za
www.artmuseum.co.za
Ron Belling Art Gallery
Opening on 24th of April, an exhibition by Marc Shoul,
Stephen Rosin and Graham Jones.
30 Park Drive, P.E. T. 041 586 3973
ronbelling@mweb.co.za www.ronbelling.co.za
Kwazulu- Natal
Durban
The African Art Centre
Opening 15 April, Artist and Crafter of the Year
Welcome Danca and Xolile Ndlovu.
94 Florida Rd, Durban. T. 031 312 3804/5
africanartcentre@afri-art.co.za www.afriart.org.za
ArtSPACE Durban
26 March 14 April, Inspiration 2 group exhibition inspired
by Durban and surrounds.
16 April 5 May, Paintings by Mbhekeni Derek Mbili and
Our Space - an exhibition of painted drawings
by Caroline Birch. 3 Millar Rd, Stamford Hill, Durban.
T.031 312 0793 info@artspace-durban.com
www.artspace-durban.com
Christies International Auctioneers.
Gillian Scott Berning, Independent Consultant.
T 031 207 8247 Gillian.gsb@mweb.co.za
www.christies.com
The Collective
19 March - 7 April, Come Out and Play a Hand-made Toy
Exhibition. Artists include Reghardt Grobbelaar, Lanel Van
Vuuren and others.
9 April - 21 April, Tattoo exhibition.
48b Florida Rd, (entrance in 4th Avenue) Greyville, Durban.
T. 031 303 4891
thecollectivedurban.blogspot.com
Durban Art Gallery
2 March 24 April, All Fired Up conversations between
kiln and collection.
Smith Street, Durban CBD. T. 031 311 2264
strettonj@durban.gov.za www.durban.gov.za
Tamasa Gallery
A small commercial gallery, Tamasa exhibits a broad variety
of contemporary KZN artists.
36 Overport Drive, Berea, Durban. T. 031 207 1223
Pietermaritzburg
Tatham Art Gallery
9 Feb 8 April, People, Prints and Process Twenty-Five
years at Caversham
8 April @ 17h00 at the Schreiner Gallery, Possibilities Ter-
rence Patrick solo exhibition closes. Main Exhibition Room
and Main Passage: People, Prints and Process - Twenty
Five Years at Caversham closes. KwaZulu Natal Room and
adjacent passage: Hats Off! lino prints from Caversham
closes.
19 April @18h00 Main Exhibition Room: KZN Midlands
Matric Art Exhibition opens and in the Schreiner Gallery
Celebrating Creativity Spotlight on Russell High School
opens.27 April, Freedom Day, the Gallery is open.
Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str.
(Opposite City Hall) Pietermaritzburg. T. 033 392 2801
Thulani.Makhaye@msunduzi.gov.za www.tatham.org.za
WESTERN CAPE | EASTERN CAPE | KZ- NATAL | GALLERY GUIDE
Xolile Mazibuko, Prayer, acrylic on canvas from:
African Art Centre, Durban.Artist and Crafter of the
Year Welcome Danca and Xolile Ndlovu.
SUBSCRIBE TO THE
SA ART TIMES
R 260 PA
Have the SA Art Times delivered to
your door for just R 260.
see more at www.arttimes.co.za
or call Tracey at 021 424 7733
BUSINESS ART / SA ART COLLECTING
A carefully built up art collection will probably show fnancial
returns if you choose to sell it after a number of years but I
think that is the worst reason to collect art.
Art has the ability to change peoples lives and to be able to
enrich peoples lives. This is something thats very diffcult to
understand until youve lived with an artwork, but it requires
careful consideration. Buying art is not something that should
be done easily you need to think about it. Its something
you need to do both with your heart and with your head.
What is art? This is by no means a broad survey Im just
picking out a few examples of specifc artists or artworks
to illustrate my points. I work in an institution where I see
all sorts of weird and wonderful things and teach weird and
wonderful things that might be considered art.

This is a photograph of a well-known artist signed lovingly
by Rose Cest la Vie. This is in fact Marcel du Champ, a
famous artist - the creator of Fountain, the Bicycle Wheel, the
ready made and various other very famous works. Hes
dressed in drag, supposedly a parody or tribute to a librarian
who lived in New York and from time to time Marcel would
dress up as Rose Cest la Vie. This is an artwork. Today if
somebody had the original of this photograph they would be
in possession of a very valuable object. The object itself is
not necessarily the artwork. The artwork resided in the per-
formance of this. There are many different types of artworks.
Performances, installations, video art, smell art etc. All sorts
of things like that totally conceptual pieces (well look at
an example of that later) which have no material existence
whatsoever. You might say why on earth would somebody
collect that? Well, it is very hard to collect, and it takes a
brave collector to acquire this kind of stuff but the traces of
the material can sometimes become the most interesting part
of an artwork in the future.
Then theres more traditional artwork. Im just going to show
you some examples of Nontsikelelo Velekos work, shes a
local photographer.
Im going to focus predominantly on younger, emerging
and contemporary artists in this lecture and thats not to say
those are the only artists one should endeavour to acquire.
In fact theres an increasing movement particularly within
South Africa and also internationally in looking at mid-career
artists who have been neglected in history. Im thinking here
of some of the work done in recent years by the Goodman
Gallery, SMAC (Stellenbosch Modern and Contemporary)
and various other galleries who have tended to look at works
by artists that had somehow been missed by the canon.
Lolo Veleko started out, quite literally, taking photographs of
her friends. That might not look particularly spectacular and
this photograph is the very frst one she took.

She was interested in the way her friends dressed and ex-
pressed themselves. Particularly African or black youth she
wanted to see how their identity could perhaps be made
through the photographer and her photographers lens. Here
are another few examples of what Lolo did when she frst
started out as you can see the qualitys not quite there.
As she developed as a photographer she took on more of
fashion style photography but also did some other things ie
developing the way she printed the photographs using more
advanced techniques. Better quality, better archival value
etc. And the photography became more art like.

One looks here at South African photographer David Gold-
blatts work who, as you know, was a press photographer
originally.

Today his photographs are 4 times the size they were ever
printed when he was a commercial /journalistic photographer.
They are printed in different materials archival materials
so, perhaps in some way what makes something an
artwork is related to the materials that are used. Lolo Veleko
also looked at subjectivity in her work here is a self-portrait
showing lips that shes painted black and perhaps a different
layer of meaning coming into her work.

This work was her signature work for the Trans Cape exhibi-
tion that was on here (in Cape Town) in 2007. If youd gone
and bought a Lolo Veleko then you would have made a very
good investment. The question is why would you have done
that what would have attracted you to the work? If youd
bought a Lolo Veleko back then it probably wouldnt be as
valuable as a Lolo Veleko produced today in terms of the
quality and production values.

This is an installation at a recent exhibition of hers at
the Goodman in Johannesburg and the artwork itself is
contextualised in different ways by the artist. So what shes
done here is shes placed her work in an installation where
the wall has been painted with blackboard paint which shes
written on and her photographs are then stuck onto the walls.
This is something that emerging collectors are confused by.
Ive so often heard people say how am I supposed to buy
an installation? Ive even heard this from very sophisticated
collectors. I remember at the 2003 Venice Biennale when
Chris Ofli did a major and beautiful installation at the British
Pavillion. I remember the then director of the Rubell collec-
tion said to me its all very nice but what am I supposed
to buy? There are always things that emerge from these
kinds of installations, these experimental works, these
non-commercial works. I like to think of it in the following way:
imagine one wasnt an artist but a scientist, one produces
experiments, one tries different things out, one works in a
research environment and then what is actually produced
and marketed from it is something very different. I think there
is a space for both of those things. I think sometimes in the
very cutting edge territory, the frightfully avant-garde setting,
art that is intended to be sold commercially (and placed,
quite literally, on peoples walls) is disparaged by the cutting
edge contemporary emerging bad boy bad girl art world.
There are some people who are very content with highly
experimental, strange, weird works but I think theres space
for a balance of these things as one thing emerges from the
other and ultimately works together.

Heres an artwork that I was quite intimately involved with
for various reasons I was also the auctioneer who sold it.
It was a work called Bruce Gordon produced in 2002 by Ed
Young who is now a well known artist. At that time he was in
his frst year of Masters and he was asked to contribute to the
Michaelis Auction at that stage an occasional fund raising
event. He thought about putting a pot plant on auction and
then his car on auction and eventually nominated his friend
who was owner of Joburg Bar and coincidentally at that time
was also Sue Williamsons husband. Sue Williamson is a
well-known writer about artists and an artist in her own right
and Ill discuss her a little bit later. Ed decided to put Bruce
Gordon on auction but not the person Bruce Gordon, the
idea of Bruce Gordon the concept of Bruce Gordon. The
technical description was Bruce Gordon found object
concept. In other words Ed Young elected to put the idea
(pertinently, Bruce Gordon was a great raconteur, he also
owned the artists bar, Joburg, in Long Street at that stage) up
for auction and it sold for R52,000 which was a lot of money
in those days for a student work. It was sold to Suzy Bell (of
Art South Africa and Bell-Roberts Gallery fame) who donated
it to the National Gallery. The National Gallery acquired the
work and when it was sold it made newspaper headlines. It
was quite interesting how it got passed through the National
Gallerys collection. After they acquired the work they had
an exhibition where nothing was on display. A catalogue was
produced, a lavish opening happened (a very lavish opening
actually) with Penny Siopis fying down from JHB to give the
opening speech, a string quartet played, there were snacks,
and there was wine. In some ways this particular event asks
how would an ordinary collector acquire something like
this? Well, they couldnt really although I suppose they
could have bought it. Suzy Bell quite wisely donated the
work to the National Gallery because I cant think of anyone
else who could have taken it at the time. It has led to a whole
lot of different repercussions, many international collectors I
know of 3 at least have approached Ed Young to remake
the work. He has, in fact, done another version of the work,
where he had Bruce fown over to Turin for a retrospective.
There was a formal loan agreement from the National Gallery
to the Turin Exhibition and produced another work. What Ed
has done is sold an edition of 3 prints on aluminium of the
moment of sale of the work. Its not the same work but again
its a trace of the work. This has become, as some of you
may know, legendary within the local art world, or notorious
depending on which way you look at it.
Andrew Lamprecht Collecting Art in South Africa
From the collector course series hosted by Vansa - Western Cape
SA ART COLLECTING / BUSINESS ART
The idea of art which pushes boundaries and changes
things has been taken up very much by a collective called
Avant Car Guard. It consists of 3 artists in their own right,
Jan-Henri Booyens, Zander Blom and Michael McGarry
and for a couple of JHB art fairs they dominated the scene
with their bad boy antics by demanding that the art world
pays them R100 million dollars for their production.

But at the same time as their strange antics of driving
round the Johannesburg Art Fair in a golf cart and such
like, they produce works which are quite marketable and
easy to place on your wall. This particular print which Ive
reproduced here Ive seen in endless interior decorating
magazines. Its visually pleasing, it goes well with peoples
decor and Ill speak a little bit more about that later. It also
comes out of a process by which Avant Car Guard push
boundaries. For example this work here is a photographic
print that theyve sold called Dancing on Pierneefs Grave
a reference to the famous South African artist JH
Pierneef.

Many people consider him the founding artist of South Afri-
can apartheid art and another work of theirs entitled Wait-
ing for Mandela to Die. Controversial needless to say. In
more recent years Avant Car Guard have started producing
easel paintings. Some people may say this is selling out
to a notion of what is collectable but I think its also pushing
boundaries about what is available and what is not.

So to conclude this section of my presentation there are
many different ways of acquiring art and I think its impor-
tant as a collector that while I have no doubt the people in
this room will focus perhaps on more traditional quantifable
artworks, heres a rather lovely example of an artwork that
was acquired. The photograph on the bottom left hand side
who by the way is Ed Young which is irrelevant here. He
manages to get himself into every social picture he possibly
can. The person on the right who is blushing its Virginia
McKinney who is an art critic, a curator and a colleague
of mine at the Michaelis School of Fine Art and this came
from an exhibition that the Association of Visual Arts had a
few years ago where they asked it was called Critic and
Curators Choice CCC critics, curators and collectors
to nominate an artist to participate in a group show and
Virginia McKinney nominated a collective similar to Avant
Car Guard.

A collective is when a group of artists get together and
work collaboratively. A collective called Doing it for Daddy
an all women collective decided to pay tribute to Virginia
McKinney by producing an artwork which comprised 2
bands and one performance artist doing different versions
of the song Sweet Virginia and thats a photograph of Vir-
ginia at the event blushing very nicely. So one can acquire
works in all sorts of ways.

What purpose does art serve? For a collector art might be
something which decorates your home or flls up empty
space which makes a lot of sense. I know that many
people, because of their profession, often need to acquire
art. A friend of mine is an advocate and when he qualifed
he literally came straight to me and said hed just been told
by the senior partner that he had to get a large artwork
for behind his desk. He asked how much would it cost
and would R800 cover it. I said he wouldnt get a large
canvas for that price but we could maybe make a plan and
suggest some things. So art can serve that purpose but
Im thinking for this introduction Id like to focus more on the
philosophical purpose, or metaphysical purpose, of art and
Im going to look particularly here at the prints of an artist
called Diane Victor.

Many people fnd Diane Victors work quite unpalatable.
Her prints are in many cases visceral, highly politically
charged and sometimes diffcult to stomach in terms of
their subject matter. I didnt bring the slide but one of her
works from her series Disasters of Peace (which basically
talks about things that have happened in South Africa since
democracy or since independence but not looking at this in
a necessarily positive way in terms of where the countrys
gone) has caused a lot of controversy in various places
where its been acquired.

Another one is of a 6 month old baby being raped very
graphically. Interestingly enough this relates to the idea of
why acquire art? and this series of art was acquired by
the University of South Africas Art Collection and theyve
put them into the law faculty. The person whose offce this
particular print ended up in, which I can kind of understand,
asked for the work to be removed, and in the end just
unscrewed it and stuck it back on the wall with its back
facing people.
Perhaps this is another thing about art and here comes
my frst recommendation. When you acquire an artwork
make sure its an artwork you can live with in every sense
of the word. Maybe an artwork like the Diane Victor is very
much like the artwork I was talking about as it acts as a
reminder or a counter balance to other things. I think art
does not have to be pretty or decorative. I have quite a lot
of art myself for various purposes and I actively buy art for
my brother who is a collector of South African art, based
overseas. I think its very interesting to have art that jars
a little bit. Think about when youre acquiring art whether
the artwork is something that will continue to talk to you
over time (and I use that word loosely). There are many
artworks that are known as one-liners in the art world.
Theyre sometimes very clever, very funny, theyve got
some visual element thats wonderful with high production
values but after 10 minutes youve seen it and worked it
out and its not really going to speak to you much more.
I would imagine that a work like Diane Victors would.
Heres another example of one of her works which has
been done with a very interesting technique where she has
used smoke to make the work, quite literally. Shes taken
a candle and held it close to the paper and worked in this
way to make an image.

So what do you do with art? I would suggest that you look
at it thats the frst thing. I was reading a few minutes
before this presentation something quite interesting. Some-
body asked a gallerist what kind of collectors do you hate
the most? and she said those who listen and dont look.
So I think one of the things one should do is with art is to
look at it, think about it and engage with it and well come
back to that when we talk about the artwork and you. One
thing you can also do is to use it to make a statement.

This is an example of a work by Wayne Barker and what
hes done here is make a very strong statement about
people that in his opinion dont do the right thing with
art. He was very angry as a mid-career artist who in his
opinion had been under recognised and the enormous
prices paid for in the secondary market for the old masters
of South African art. Im sure all of you know that recently
an Irma Stern sold for just over 3million which is an awful
lot of South African Rands and this particular work youre
seeing is based on the former record holder. What he did
was he got an image of the last highest selling Irma Stern.
He used Photoshop to convert the picture into the way
somebody would see it who was colour blind, repainted it
and then basically grafftied over that with various things.
Hes got a splash of paint in the top right hand corner, some
green, a pun on the word country and in neon fashing
on the work are the words: super-boring. Perhaps it
comments on the way some peoples art tastes are super
boring. In my opinion this is a work that will continue to
illicit conversation, discussion and thought for some time.
Its a rich work despite its visual appearance which is quite
pleasing. Another thing about art works, traditional oil on
canvas, prints, photography, those kinds of things, again
a word of advice, is dont be too concerned about whether
the artwork goes with your drapes or the colour of your
walls because I think for most people an artwork should
be a lifetime investment or certainly something to keep for
a while.
I myself, although I dont have a lot of art on my walls as I
see art all the time, I like to occasionally stick something up,
take it down after maybe a few months or a few years and
move things around. Thats one of the things that becomes
very enjoyable. I think art should be seen as a window
into something else rather than something which shouldnt
clash with the drapes. Hopefully in ones lifetime ones
drapes will change more often than ones art collection.
Fashions change but art, if its good, remains.
Right next door to us is this artwork and this is another thing
you can do with art. You can make a grand statement.

This is an artwork acquired by IDASA (African Democracy
Institute) which is the building next door [to VANSA i.e.
6 Spin Street] and another work by Ed Young which is a
highly realistic sculpture of Archbishop Tutu swinging from a
chandelier. IDASA had a competition facilitated by VANSA
and although Young didnt win the competition they decided
to acquire it anyway. The kind of spectacular statement
it would make in their conference room imagine having
a conference with this swinging Archbishop above you.
According to them at the opening
ceremony it spoke about the spirit of IDASA. In other
words one of the things an artwork can do, and this is
institutional collecting, but the same thing can be true of
a person, it can refect your personality to other people.
It can become shorthand for many things. If you have a
room full of Roy Lichtensteins or Andy Warhols or Picas-
sos youre making a statement like Im flthy rich. You
might be making another statement as well. You might be
acquiring artwork that says I am young, hip and trendy if
you flled your home with Lolo Velekos. Art can become
shorthand for describing your own personality.
I want to talk now a little bit about you and your art that
diffcult relationship between you and the artwork. Hope-
fully it wont be a diffcult relationship but it often starts out
that way. As a collector if you are beginning to collect I
think you need to brace yourself for making mistakes in the
beginning and to try and minimise those mistakes. One
way to do that is to acquire knowledge.

This is Sue Williamson who has a lot of knowledge about
South African art and shes very proudly holding up her
latest book South African Art Now. A lavish coffee table
publication produced in America by Harper Collins Design
an edition of 50,000 copies, the largest print run ever for
a South African art book and if you go to any major gallery
in the world youll probably see it for sale. I saw it recently
at MOMA.
Part of your knowledge is knowing what your rights are as a
collector. Collectors do have rights. When you go
to a gallery and youre planning to purchase an artwork
you are under no obligation to make a decision there and
then. All reputable galleries (or sellers of art) will allow you
a certain amount of time to think about it and consider the
artwork. You put a reserve on an artwork which is normally
indicated by a green sticker next to the artwork. The only
time a gallery can legitimately press you during your time of
reserve (which can be 3 days, a week or until the end of the
exhibition), is if somebody else comes and makes a frm
offer to purchase the work, in which case you should be
telephoned or contacted and you might then have to make
an immediate decision. Be very suspicious if the artwork
doesnt get a red sticker next to it because that means that
the gallerist or person selling you the artwork has actually
tried to push you into a sale. Buying art is not the same as
buying a band-aid at the chemist. Its a luxury purchase
and its not something you have to do. You have the right
to think about it. You also have the right to information
about the artwork in terms of its longevity, how stable it is,
everything about the medium it was made from, whether its
editioned or whether its a unique artwork which is very
important. It is something that a lot of starting collectors
have been hoodwinked with. I know of someone who
bought the frst in an edition under the assumption it was a
unique artwork and then the artist realised a lot of people
liked it so ended up producing an edition of 100. This is an
unethical practice. You can also, in certain circumstances,
ask for a certifcate of authenticity. Most artists, particularly
if its a non-standard artwork, i.e. not an easel painting or
bronze sculpture, but if its a video piece, a photograph or
something similar (and uncommon in the artists ouevre)
one could get a certifcate or document confrming its
authenticity. If its a print or a photograph there will be an
edition statement on the artwork itself (usually written in
pencil in the bottom, left corner). You can fnd more infor-
mation about this very easily. Youre welcome to email me
if you would like to know whether your artwork is unique or
whether its an edition. This has affected a lot of collectors
so its something to bear in mind.
You dont have copyright on an artwork you purchase.
This is a very common misconception. The artist retains
copyright its an inalienable right of creativity. In terms
of the law you are allowed to make reasonable copies of
an artwork (like if youre producing a catalogue of your
collection) but this is (probably) not something you need to
worry about at this stage. What are your responsibilities? I
think collectors do have some responsibilities, one of which
is if you intend to purchase an artwork, follow through on
it. Younger and particularly emerging artists live virtually
hand to mouth existences and I know of many cases where
collectors renege on purchases, and try and haggle people
down after the event. I even know of an example, recently
in Cape Town, where an artwork was purchased and the
purchaser lived in a rock-cliff house in Bantry Bay. She
arranged, at huge expense, for an abseiler to go onto the
roof of the house (because it was a large work) and have it
brought in through a side window as it couldnt get through
the normal doors. When the work arrived in the house and
it was about to be installed the purchaser started haggling
about the price with the artist. This is really not cool and
she did the right thing and had the abseiler take it straight
back out. The thing is if you choose to make this elective
purchase, follow through on it.
Your responsibility may be, according to some people, to
look after the artwork but, perhaps most importantly, you
have responsibilities to yourself (in terms of looking after
your own interests) and to the world (in the broader sense
of the word). If you own an artwork that is important or
signifcant (and according to every artist their work is) then
you need to look after it and provide it with care and a safe
home a little bit like a pet.
Ill give you an example from the work of Vuyisa Nyamende
who was an exceptionally talented artist and was part of
the younger generation about 10 years ago at Michaelis
(contemporaneous with Ed Young, Dan Halter, Cameron
Platter, Zen Mari et al.).

While he was still a student he was being written about in
Flashart, one of the top international magazines. He was
recognised by all his peers as a superior artist and the work
that youre seeing here was given to me by him. At the
moment I think there are only about 3 people who possess
these Nyamende artworks, I know the National Gallery has
done everything in its power to try and acquire one and I
believe there are 3 collectors who have one and I am one
of them. For various reasons which I wont go into here
Nyamende stopped making art. I loaned this artwork to an
exhibition and the style of the show was to stick it onto the
wall with Prestik and I agreed to allow this to happen. At
the end of the exhibition somebody didnt realise that this
was, in fact, an exceptionally rare artwork and they ripped
it off the wall and destroyed it. Perhaps my responsibility
in that particular case was not to exhibit it the way the artist
had but to make sure that the work itself couldnt be dam-
aged. Im not so interested in any fnancial value that might
have been lost, Im much more concerned that a very rare
artwork (which, I have no doubt, will one day be very much
recognised) was destroyed.
Q. Andrew, I dont understand how youd go about that
would you present the work in a different format or just
alert the curator of the value of the work. Surely dealing
with the work in any different way would shift the meaning
of the work.
A. Sometimes I think we need to shift the meaning of a
work. For example the Mona Lisa is not seen in the way
it was intended to be seen by the artist. In fact very few
things in museums are intended to be seen in their original
way. Most of them are intended to be in a domestic envi-
ronment so its forgivable to shift the context of an artwork
if its going to protect it. Thats what Im saying in terms of
responsibilities and rights frame it and glaze it in a way
thats appropriate.
To conclude lets talk about strategies of collecting. Ive
spoken about knowledge which is very important. There are
many ways to acquire knowledge one is to read books,
one is to look at websites, to read magazines like Art South
Africa, the SA Art Times, websites like Artthrob and Artheat
and other journals. The other way to acquire knowledge
is to ask questions, either of the gallerist or, if possible, the
artist. I currently have a show on at a small gallery in Kloof
Street (Salon 91) where (interestingly) one of the artists
conditions of sale is that he actually meets the purchaser so
that he can explain what the artwork is about.
Q. How does the dealer feel about that?
A. Not great, Id imagine!
BUSINESS ART / SA ART COLLECTING
If you are interested in buying art, beyond a few pieces to
decorate your wall, do try and build up a network of advis-
ers and people who can give you information. A great way
of doing this is to go to exhibition openings. This is often
the bte noir of many people but its a way of (often) meet-
ing the artist and meeting other people. An adviser can
be anyone from a high end art consultant (who will charge
you) to your partner or your children. It is important to talk
through and about art with people. I know of many suc-
cessful collectors who talk to people and never take their
advice. My good friend Bruce Gordon who was not only an
artwork but has a very fne collection of South African art
by younger artists always asks my advice but never ever
takes it. In spite of this he has built up a very fne collection.
Some top end collectors will sometimes have a perma-
nently employed adviser or work with somebody. It is
useful to have a wide selection of people to get advice from
somebody to bounce your ideas off. At the end of the day
make sure you listen to yourself as youre the one who will
pay for it, youre the one who has to live with it and explain
to other people why you acquired the artwork. I offer one
little word of warning, with great hesitation, that is: be wary
of people with special interests when theyre advising you.
Certain interior decorators have become notorious for this
and actually have a relationship with a particular gallery
where they get kick backs and only offer work from a very
limited pool. Make sure your adviser is independent or, if
not, that youre aware of their limitations [and agenda].
Q. Is one ever allowed to take a painting on apro from a
gallery to see what it looks like at hoA. Most galleries will.
It is not an unusual practice. It depends on how successful
the artist is. For example I know of major galleries in Cape
Town who will bring an artwork over to a trusted clients
house so they can see how it is. They wont necessarily let
it stay there for very long but it depends on how much the
gallery trusts the person. I think if youre buying a R500
work it would be asking a bit much. If people are going to
spend a lot of money its not unreasonable.
There are a number of opportunities you can take
advantage of in developing your collection. If you are just
starting out I would really recommend that you restrict your
purchases for the frst couple of months or years until you
really get a feel for it. It can become very addictive and I
know of a lot of people who started out collecting bought
a few R20-30k works and then discovered the artist wasnt
worth anything like that and stopped collecting. Its much
better to buy something which you like if the artist is not
established. Perhaps multiples, prints or photographs
and there are many opportunities to acquire such work.
Great places are galleries who stock affordable art and
there are affordable art fairs in December. Dont be shy to
tell galleries what your budget is. You can acquire some
wonderful works that way.
Here is an artwork which I acquired. This is an open edition,
which means there is no limit, but the artist has only made
about 40, as far as I know.

Its by Dan Halter, a Zimbabwean/Swiss artist and its
entitled Zingzong Mother and Child a stone sculpture
made from plastic. The name Zingzong is a term for cheap
Chinese imports in Zimbabwe and this work was for sale
for R300 at Jaa Ferreira. Other works by him now sell
for R40k-100k. Even for me it was very affordable and I
really enjoy it. It sits on the top of my bookshelf in my offce
and its not a purchase I regret in any way. Dan Halter has
gone on to do very well.
When I spend my money on art I always acquire younger,
emerging artists. There are some things to be said for that
in that you are developing somebodys career, you can
often acquire work that is relatively cheap before the artist
becomes well known. As a lecturer Ive been very lucky in
being given art by students. Mikhael Subotzky gave me
a photograph to say thank you. I say thanks to Mikhael
now for that because its my retirement fund. I fnd that if
you do collect art by emerging artists, provided you like it,
you really cant go wrong. To be honest, of the artwork Ive
bought from students at the graduate shows at Michaelis
(which is a great place to buy art very cheaply) probably
80% of those artists have not carried on producing art.
Nevertheless, some of my favourite artworks fall into that
category. There are, of course, other markets so if you
want to you can jump in and start collecting Irma Sterns.
You can have a strategy to disseminate your work as
well. There are ways to disseminate your work and what
some collectors have been known to do is to have an
underground vault where only they have fngerprint access
and only they are allowed to see it. Most people however,
want to share their artwork and the best way to do it is to
put it up in your domestic space or in your work space.
Other ways (if you are interested in investing in art) is to
make your collection known. Dont be afraid to loan work,
particularly if you own a unique work. This is a photograph
of Sue Williamsons famous work Thirty Years Next to His
Heart on exhibition at MOMA.

It was very interesting for the recent MOMA print show
as they wanted an example of Sue Williamsons freedom
charter T-shirt as much as they wanted this work which is in
their collection. It was very nice when a little local collector
who was a very small collector was able to lend them the
only known copy of it in mint condition which she actually
very kindly donated to MOMA and her name is now on the
list of benefactors along with other well-known benefactors.
Finally one needs to think about strategies of selling work
and this is perhaps a very diffcult area. Its not a sin to
look at your artwork and say the time has come for you to
move on. Its important to think about that. The time will
come when you need to get rid of your artwork. Maybe
you want to sell artwork in order to acquire other artwork.
Perhaps your tastes have changed, your interests have
changed or you want to pass your artwork onto somebody
else. People move into different areas and the artwork no
longer serves the purpose or youve outgrown the space.
Ultimately it is a personal relationship and as long as the
artwork has given you pleasure and its been taken care
of and not damaged or destroyed not only will you recoup
your money but youll probably make some proft and more
importantly your life will have benefted from the presence
of that artwork.
Ill end on that note and hope it was a good introduction.
Any questions please feel free to email me.

PRINT GALLERY
proudly presents:
John Moore
Latest works
31 March
View the show on www.printgallery.co.za
The South African
109 Sir Lowry Road, Woodstock, CT
Tel 021 4626851 . www.printgallery.co.za
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THE TELEGRAPH: By Colin Gleadell. In his television
documentary The Mona Lisa Curse, the pugnacious and
persuasive art critic Robert Hughes argued that traditional
values which judge art by its quality have been overridden
by marketing and hype, and that, in the present consumer
culture, the only meaning left for art is a fnancial one.
Perhaps today, the millions who visit museums do so in
order to contemplate arts fnancial rather than aesthetic
values.
The artists Hughes singled out as being worth so much
more than they merited were Andy Warhol and Damien
Hirst. So will people go to Hirsts retrospective at Tate
Modern to mull over the millions of pounds his art repre-
sents? The critics are likely to see the selection, which
emphasises his early work, as supporting the view that
Hirst had made his best, most original work by the latter
half of the 1990s, and everything after that was repetition.
But then, even if it has been a bit of a production line, it
has been a very successful one, and so in itself a com-
ment on consumer culture.
Warhol also addressed consumer culture, was repetitive,
and employed factory workers to make his art, just as
Hirst has done. But the difference is that Hirst has enjoyed
far more commercial success than Warhol ever did.
Hirst is often cited as the richest artist in the UK, even in
the world. In 2009, the Sunday Times Rich List assessed
his wealth at 235 million. That may have been an under-
statement. In 2008, his business manager, Frank Dunphy,
said Hirst was a dollar billionaire. Dunphy, an accountant
who had worked with the artist since the mid-Nineties,
was clearly proud of his achievement, turning Hirst from
a potential drunken layabout into a number-one bankable
asset, and a lot of interesting facts came out.
Hirst employed 160 staff making artworks for him at fve
studios in England. He owned dozens of properties from
Mayfair to Mexico, including the 3 million Toddington
Manor, where he planned to put his art collection then
worth about $400 million (252 million) including a self-
portrait by Francis Bacon which he had bought in 2007
for 16 million.
There wasnt a run-down of gallery sales but, occasion-
ally, some fgures would be revealed: Charles Saatchi
buying the Humbrol toy sculpture, Hymn, for 1 million, a
White Cube sell-out for 11 million, a multi-million sell-out
in his frst show in Mexico added to which was the $20
million (12 million) sale of the contents of the Pharmacy
restaurant, and the 111 million pound Beautiful sale
at Sothebys, which took place just before the Wests
fnancial crash.
Adding to the earnings fgures has been Other Criteria,
Hirsts retail outlet, which was netting $12 million (7.5
million) a year on brand products like prints and T-shirts.
Recently Hirst has announced his plans to build 500 eco
homes in Devon a money-spinner if it takes off and
the opening of a gallery in London to house his own
collection.
The popular obsession with wealth and fame has
ensured that Hirsts name is ineradicably associated with
something other than his art. The 50 million diamond-
encrusted skull he made in 2007 tells us how wealth
cannot buy immortality. The Sothebys sale in 2008 was a
statement of the artists superiority over his dealers and,
being more of the same but with added bling for the new
rich collectors, a work of art in itself.
Both of these are featured in the Tate show the skull in
the Turbine Hall, and an installation from the Sothebys
sale upstairs to support the whole work of art idea. But if
they are about money, neither is quite complete.
The skull has never been sold properly, so doesnt have
a real value only the price attached to it. And the effects
of the Sothebys sale are still being played out, as works
that were bought there (perhaps with the extended credit
terms that were offered) resurface on the market, selling
for half or two-thirds of the price they sold for initially.
This fts well with Hirsts intentions to reverse the normal
pattern of accruing value to buy the new work from the
artist or his dealer for, say, 1,000, wait for the value to go
up, and then resell for 10,000 excluding the artist from
any proft.
Hirst objected to that process, saying he believed artists
should make their work more expensive at the frst point
of sale. The frst time you sell something is when it should
cost the most, he said. It means treating a work of art like
a new car or a piece of furniture, but it is the way an artist,
who does not proft from auction resales, can make the
most money.
If this is what happened at the Sothebys sale, with Hirst
pocketing the lions share, it has been the buyers who
have suffered a loss at the point of resale, not Hirst. Nor
has Hirst been perturbed by the downturn in his auction
prices. What goes up must come down, he says. Its
like when John Lennon went to get his long hair cut and
was asked why. What else can you do after youve grown
it long? he answered.
The Sothebys sale itself did little damage to his gallery re-
lationships. He is now one of many successful artists (Jeff
Koons, Takashi Murakami, and Anish Kapoor) who have
become less dependent on their galleries and more reliant
on business managers and have transformed themselves
into self-contained corporations.
He has also demonstrated how little attention the market
pays to the art critics. The exhibition of his own fgurative
paintings at the Wallace Collection and White Cube was
slaughtered by the critics, yet collectors paid millions for
them.
Hirst once admitted his ambitions, saying: Its been hard
to see the art for the dollar signs. A similar diffculty has
faced the viewer, if not the investor. Whether he has been
making art for money or about money, there is always the
suspicion that he is fulflling that early wish when he said:
I cant wait to get into a position of making really bad art
and get away with it.
Damien Hirst opens at Tate Modern on April 4
How Damien Hirst tried to transform the art market
BUSINESS ART / INTERNATIONAL
Bonhams sale leaves market in suspense
By Michael Coulson
After the two contradictory sales in Cape Town, observers were hoping that
Bonhams sale in London on March 21 would give a better indication of the
state of the market for SA art. Unfortunately it sent out mixed signals, doing
little to dispel the state of uncertainty.
A gross of 3.5m, equivalent to R42m at the R12.08= 1 exchange rate
ruling on the morning after the sale, sounds healthy enough, but its only 73%
of the low end of the estimate range, of 4.9m- 7.1m and remember that
reported sales prices include buyers premium, estimates do not. Bonhams
buyers premium is as much as 25% on hammer prices up to 25 000,
which is the majority of lots.
Also, 57 of the 121 lots sold, or 47% of the total: again, neither a great suc-
cess nor a train smash. Similarly, of the 12 items with a low estimate starting
at 100 000 and above, eight sold, including the highest estimate, Irma
Sterns Woman in a Pink Sari, at 960 000 (est 800 000- 1.2m, the
back cover) and third highest (Sterns Zulu Girl, at 457 000 --- est 400
000- 600 000 facing the inside front cover) but not the second highest,
another Stern portrait (Banana Girl, the inside front cover, est 250 000-
300 000).
The other six comprised three Pierneef landscapes ( 361 000, the front
cover, est 300 000- 500 000, 109 000 for another, est 100 000-
150 000, and 127 000 for the third, est 120 000- 180 000), two Stern
still lifes ( 217 000, est 150 000- 200 000, and 151 000, est 150
000- 200 000), and ending the sale on a high note, 253 000 for the
fnal lot, a William Kentridge drawing (est R150 000-R200 000).
Another notable price was 79 000 for Gerald Sekotos portrait of his
mother (before the end paper. 60 000- 80 000).
As is to be expected, the house is stressing the positive aspects of the sale.
Bonhams director of SA art Giles Peppiatt, who must have felt mingled relief
and disappointment, says that a couple of years ago prices like this would
not have seemed credible; he adds that the sale confrms Sterns pre-emi-
nence in the market and the continuing interest of the international market in
SA art.
In fact, eight of the 11 Sterns sold, for a gross of 1.86m, or more than half
the total. Relatively, Pierneef did even better, selling eight of 11, for another
759 000, so these two alone contributed a whisker under three-quarters of
the total.
Of other well represented artists, not one of the 10 Cecil Skotneses sold,
suggesting that here is one SA artist far better regarded at home than
abroad; six of nine Sekotos; half the six Keith Alexanders and Francois
Kriges; three of the four Tretchikoffs; half the four John Meyers; and only one
of the four Maurice van Essches.
With the ambiguous results of this sale, attention will move back home, to
Joburg, where both the major local auction houses plan sales within the next
couple of months
For all
SA Art Auction Previews and Results
Local and international Art Money

Business Art
www.businessart.co.za
View a rebranded Stephan Welz & Co. (Jhb offce).
See them like you have never seen them before on their Facebook profle
Bonhams director of SA Art Giles Peppiatt
Nushin Elahis London Letter
Picasso and British Art at Tate Britain until 15 July is an extensive and schol-
arly study of Picasso and his infuence on modern British artists. It explores the
rather chilly reception Picasso received in Britain, while looking at seven key Brit-
ish artists for whom he was an important stimulus, among them David Hockney,
Henry Moore and Francis Bacon.
Picasso defed labels. The only consistent theme through his work was power
and vitality, but seeing the sweeping range of his art is almost like seeing a group
exhibition. It was life from a constantly changing viewpoint as one of the 1930s
magazines put it. His work may be rooted in tradition and history, but above all,
he was a radical artist searching out new experiences.
There is some irony in the fact that Hockney remembers queuing for the Tates
great 1960 Picasso exhibition, which half a million people attended. Today,
the long lines in London have been at the Royal Academy for Hockneys own
exhibition, rather than this Spanish artist whose infnitely varied responses to life
inspired Hockney to constantly open himself to fresh ideas.
The fact that the exhibition isnt drawing the hordes simply means a much more
pleasant opportunity to assess this giant of the twentieth century. At the same
time it is the history of British collectors and collections, charting how Picassos
work came to these shores, from early advocates such as Roger Fry to the Tates
own purchase of The Three Dancers in 1965 from the artist himself, a work he
considered one of his two greatest (the other being MOMAs Les Demoiselles
dAvignon).
It is not an exhibition that blows you away at the outset. Instead, it takes you
through the myriad stages of Picassos development, with some pairings that are
perhaps tenuous, but others that jolt you into a new appreciation of both artists.
There is a wonderful symmetry in Hockneys reprise of Picassos costume de-
signs, Henry Moores large reclining nudes and Picassos monumental classical
women, Francis Bacons distorted and anguished fgures and Picassos darker
images of the human body. The range of Picassos work is impressive: early
waif-like fgures, signature Cubist constructions and paintings, loving portraits of
Marie-Therese, drawings of Guernica, the Weeping Woman series and two Cu-
bist interpretations of old masters. Alongside that are seldom seen British works,
such as early Bacons, Moore maquettes and stunning Ben Nicholson oils.
This is an exhibition which demands intense viewing, but rewards you with a new
insight into the unfolding history of British art and collecting.
Ben Nicholson may have connected Picassos Cubist period with their coded
images of their lovers, but he was even more taken with the abstraction of Dutch
artist Piet Mondrian, as a small show at the Courtauld (until 20 May) reveals.
MondrianNicholson: In Parallel looks at their friendship during the unsettled
decade before the war. They met in Paris when Nicholson was a rising star of
modern British art, and twenty years his senior, Mondrian was well-established.
The serenity of their work contrasts with the turbulence of the era, which they
tried to counter with their art. Although always two artists exploring their own
creativity, at times their work follows a similar visual vocabulary, such as the
blocks of lines and colour which Nicholson used centrally and Mondrian on the
edge of a canvas. By the time the war drove Mondrian to New York and his friend
to St Ives those intersecting lines had parted, but their work forms a tranquil oasis
in the chaos of war.
A major retrospective of Italian artist Alighiero Boetti: Game Plan is on at the
Tate Modern until 27 May. Like his compatriot Burri, he is associated with the
Arte Povera movement and the show opens with work he made from everyday
objects in the late Sixties. He was soon exploring other ideas in his art, one of
them being the image of the artist as divine shaman and public showman, but
that duality inspired him to reach beyond his immediate world. The element of
playfulness, of order and disorder, of patterns, time and language are themes
that constantly run through his work. There are huge beautiful blue biro drawings
which may display a consummate waste of time, but are also incredibly textural;
tapestries made up of the names of the longest rivers which demonstrate the
absurdities of classifcation and a series of postal works which play on colours of
stamps and return-to-senders. Throughout his life Boetti collaborated with other
artists, many of them Afghan weavers who added their own voice to the maps
he made of the changing world. From the randomness of a light that switches on
for 11 seconds a year, and no-one knows when, to the marks on a tapestry that
represent the chimes of a church clock, or a counting game, this is an artist who
challenges the viewer to participate and the more you understand the rules of the
games he is playing the more you will enjoy them.
Jeremy Dellers art doesnt ft easily into an art gallery. In 2004 he won the
Turner Prize for his quite extraordinary project of re-enacting one of the bloodiest
battles during the miners strike of the 80s, something he had seen as a teenager
on telly. The Battle of Orgreave, or A Blow to One is a Blow to All is one of the
chief exhibits on this retrospective at the Hayward Gallery, Joy to the People
(until 13 May). Deller sees himself as a storyteller, celebrating the element of
surprise in experience, rather than a creator of objects. This fascination with the
quirky side of humanity has led to the intriguing projects on show, from an early
exhibition in his bedroom as a schoolboy, to a flm on the infnite variety of fans
of the band Depeche Mode, a garden project in Germany, a discussion tour of
America with a car wrecked in an Iraqi suicide bomb attack and a flm on bats. It
seems he has an insatiable appetite for capturing the pulse of a culture. It may
be hard to experience the full impact of one of his projects in a gallery, but Deller
puts performance art on a remarkable plane.
Cartoonist David Shrigleys Brain Activity upstairs at the Hayward (until 13
May) is altogether a different matter: quirky it may be, but so slight as to be
entirely missable.
Far more interesting is Johan Zoffany Society Observed at the Royal
Academy until 10 June. An outsider whose penetrating view of Georgian society
included not only royalty and the court, but actors and artists, his detailed can-
vasses are full of wry humour and meticulous observation.
Images: Left to Right T-B
Jeremy Deller, Battle of Orgreave II
Jeremy Deller, Joy in People banner
Alighiero Boetti: Aerei 1989
Pablo Picasso: Weeping Woman (Femme en pleurs) 1937
Alighiero Boetti: Mappa
Pablo Picasso: Nude Woman in a Red Armchair 1932
Jeremy Deller, It Is What It Is (2009)
Jeremy Deller, Battle of Orgreave
Pablo Picasso: Study for Guernica 2 May 1937

April 2012 South African Art Times Magazine

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